Revised March 26, 2013
Music Department
Program Plan
Spring 2013
Michelle Rivard
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Revised March 26, 2013
TABLE OF CONTENTS
BACKGROUND, EVALUATION AND ANALYSIS
Program Description .......................................................................................................... 3
Relationships
Importance to Community ..................................................................................... 4
Importance to Other Programs .............................................................................. 5
Program Taught Elsewhere ................................................................................... 5
Inter-Collegiate Collaboration .............................................................................. 5
Program Available at Other Institutions ............................................................... 6
Articulation ........................................................................................................... 6
Costs
Program Load WSCH/FTEF .................................................................................. 7
Improve Efficiency ................................................................................................ 8
FTES income and Program Expenditures .............................................................. 8
STAFFING, OPERATIONS/EQUIPMENT, ANCILLARY PROGRAMS
Staffing
Certificated........................................................................................................... 10
Classified ............................................................................................................. 10
Operations/Equipment ..................................................................................................... 11
Ancillary Programs ......................................................................................................... 11
STUDENT SUCCESS
Course Success/Completion ............................................................................................. 12
Degrees/Certificates ......................................................................................................... 13
FTES/WSCH ................................................................................................................... 13
Student Learning Outcomes ............................................................................................. 14
Student Survey Results .................................................................................................... 15
CURRICULUM, REQUISITE, MODEL PROGRAM REVIEW ................................................ 15
NEW DIRECTIONS
The Next Five Years .......................................................................................................... 16
Staffing and Budgets: Music Technology Program ........................................................... 18
Staffing and Budgets: Music Major/minor Program .......................................................... 18
SUMMARY .................................................................................................................................. 21
APPENDICES
IA: Goals from 2007 Program Plan ..................................................................................... 22
IB: Changes Since 2007 Program Plan ................................................................................ 23
II: Music Technology and Recording Arts MTRA ............................................................ 28
IIIA: Musical Theatre Program ........................................................................................... 29
IIIB: Skills Certificates ....................................................................................................... 32
IV: Assist Articulation Agreements ..................................................................................... 35
V: TMC: Transfer Model Curriculum: Music .................................................................... 36
VI A: Current Faculty .......................................................................................................... 38
VIB: Requested Contract Faculty Position .......................................................................... 40
VII: SLO: Student Learning Outcome Results ................................................................... 41
VIII: Assessment Analysis Forms (2006-2011).................................................................... 43
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BACKGROUND, EVALUATION & ANALYSIS
PROGRAM DESCRIPTION:
In accordance with the college mission the Music Department continues to offer a
comprehensive transfer curriculum of music education with a complete, lower division music
program in the classical or jazz track. Music Majors may fulfill all requirements for CSU and
UC schools in theory, applied music, keyboard skills, literature, appreciation, technology and
performance. Students are encouraged to perform in music ensembles covering a wide variety of
interests and ability levels. We enjoy a reputation of being one of the top music education
community colleges in California largely due to our outstanding faculty. We currently have 9
contract and 17 adjunct faculty. Our contract faculty members coordinate the various areas of
music: Choral/Vocal, Theory/Musicianship, Instrumental, Jazz Studies, Piano/Keyboard and
Traditional / Multi-Cultural Appreciation. Since the music department’s primary focus is on
making music, most of our performance ensembles are directed by contract faculty. Our guitar
program is coordinated by long-serving adjunct faculty members in Classical and Jazz/Rock
guitar.
The department currently offers over 62 sections of music per semester of 55 courses in theory,
applied music, performance ensembles and appreciation/history. The Computer-Assisted
Instruction (CAI) Music Laboratory augments the curriculum by providing software, audiovisual and other programs, access to practice rooms, and one-on-one tutoring for students.
For the beginner, Basic Music Skills courses are offered in fundamentals, technology, strings,
brass, winds, piano, guitar, and voice. In a Performing Arts discipline, successful transfer
students and professionals typically begin their development as children. In light of severe cuts
in K-12 Arts Education, Cabrillo music offer extensive Basic Music Skills to prepare students for
success in their pursuit of a music education.
Multicultural music is offered through World Music Appreciation (fulfills GE and Multicultural
requirements) and performing ensembles; it is continually being integrated into the rest of the
transfer curriculum to reflect diverse cultures in music and serve the increasing diversity of our
students.
The Music Program is based upon teaching the skills for students to make music, including the
incorporation of music reading in all courses. Students may participate in 16 performing groups
in classical, jazz and world music. We take pride that our students easily pass assessment exams
when they transfer to CSU and UC, as well as to many private universities. Our students perform
professionally and several move on to careers in Music Education. (Currently, Cabrillo graduates
teach music at Soquel High, Aptos High, Harbor High, Santa Cruz High, Pacific Collegiate
School.)
Our comprehensive and diverse offerings serve day and night students. Our five DistanceLearning offerings in the GE courses, Appreciation and Fundamentals, continue to be successful.
Due to unit cutbacks we now offer only one off-campus course, Westside Community
Folk/Gospel Choir, which maintains high enrollment (example: Fall 2012: 70 students.) Our
Summer Session has been severely reduced, and we have only been able to offer two
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appreciation courses, one on-campus and one on-line. For Summer 2013, we will need some of
those units to support Touring Chorus, which will perform at the Vatican in Italy.
Cabrillo Stage, a professional regional musical theatre company, open to Cabrillo students
through TA75 and MUS 75, annually provides opportunities for 40-80 performers, musicians,
and production staff, and has been offering 4 shows per year; in the summer: two main stage
productions in the Crocker Theatre, one in the Black Box theatre and a winter show at the
Crocker.
The Music Department has accomplished many objectives outlined in the 2007 Program Plan
(See APPENDIX 1A.)There have been many changes in the Music department since 2007 that
will affect the next six years. (See APPENDIX 1B.) Although cutbacks have continued to reduce
our offerings, we strive to continue to serve a wide variety of students with varied experience
and abilities, all of whom have the goal to improve and excel in their musical education, and we
are committed to providing avenues for students to pursue their passion and interests. Despite
the doom and gloom from Sacramento, we are committed to continue to provide a place of
musical activity to promote cultural awareness and aesthetic appreciation for the college and its
extended community.
RELATIONSHIPS:
Importance of the Program to the Community.
The Music Program serves the College Master Plan in the following ways:
Goal A: Outreach/Increase Enrollment: Music courses offer a non-threatening way for many
students to start or return to college. The sense of community and creativity helps new students
succeed in their initial college experiences. We also succeed in allowing many students who
come to us unsure about their academic goals—some become music majors and minors, and
most decide to include an artistic component to their education.
Goal B: Excellence in the Classroom: As stated in the Program Description, it is our outstanding
faculty who teach and inspire our students. (This is continually mentioned in the current student
survey, page 14.) Our new facility provides dedicated teaching/performance spaces that promote
excellence. Our world music curriculum provides a global perspective to the universal language
and culture of music.
Goal C: CTE programs: Our MTRA, Music Technology and Recording Arts Program includes
a pending AS and Certificate of Achievement (submitted in Fall 2012), and a Skills Certificate.
We are submitting several Music Skills Certificates. In collaboration with Theatre Arts, we hope
to add Musical Theatre certificates.
Goal D: Enhance College Effectiveness: In order to maintain our successful program we
continue to seek support staff and adequate budgets; we are in the process of complying
with SLO Course and Program Assessment.
Goal E: Revenue/Community: We continue to raise funds and seek equipment through donations
from our generous community. We maintain active children’s programs. We plan to increase our
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relationships with community organizations including: Kuumbwa Jazz Center, Santa Cruz Jazz
Festival, UCSC, Santa Cruz Symphony, and area high schools.
In the absence of elementary and middle-school music programs and the continued struggles of
high school music programs, Cabrillo stands out within Santa Cruz County for its commitment to
maintain access to quality music education. We accomplish this through our programs for
transferring majors, life long learners, and children’s performance groups.
The theory/musicianship/keyboard courses in classical and jazz studies provide the essential
training for transfer as a Music Major or Minor, as well as music training to members of the
community in theory and instrument instruction.
General education and multicultural courses in music appreciation serve transfer students in
other areas seeking elective courses in the Humanities and provide access to increased cultural
awareness to the community at large.
Performance groups provide artistic and skill-building opportunities for all interested students.
Performance groups of many levels, styles, and instrumentation provide opportunities for
performers and audiences to participate in an integral part of our community’s cultural life. We
train the people who will continue to make music, thereby enriching all of our lives.
Importance of the Program to other programs in the college.
Associate Degree students may select from 23 Music Department courses to fulfill Area C:
Humanities. The requirement for Multicultural Studies may be satisfied by four Appreciation
courses. CSU transfer students may select from 9 music courses to satisfy Area C: Humanities
and Fine Arts. Nine courses satisfy IGETC in Area 3: Arts and Humanities.
Is the subject matter taught elsewhere on campus?
The curriculum of music courses has not been taught elsewhere on campus. Basic piano and
guitar are occasionally offered through Community Education, but they are not related to music
reading or hand technique, and do not apply toward transfer.
What inter-programmatic collaboration has or could occur?
 Regular collaboration occurs with the Theatre Arts department with the presentation by
Cabrillo Stage (Summer Musical- MUS/TA 75), and enjoyed by 11,000+ patrons each year.

MTRA- The pending AS and Certificate of Achievement in Music Technology and
Recording Arts requires 6 non-music electives from Theatre Technology, Digital Media,
Business and Physics. (See APPENDIX II)

Interdisciplinary collaborations occur between Foreign Languages, History and Correlation
of the Arts, MUS 77.

A Staff Accompanist position would better serve Music, Theatre Arts and Dance
Departments.

Musical Theatre Skills Certificate. Music has been meeting with Theatre Arts and Dance to
discuss developing a Skills Certificate and perhaps a transfer major, in Musical Theatre. To
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date, we have discussed possible courses and have researched the programs at UC Irvine,
Cal-State Fullerton and Cal-State East Bay.(See APPENDIX III)

Counseling Department. While there is information from Counseling in the Music Student
Handbook, and we encourage our students to make counseling appointments, the department
would be better served if we established an ongoing relationship among music faculty and
counselors.

Community Outreach
The Music Department also sponsors and supports two community programs, which in turn
support our educational program: The Cabrillo Youth Strings Program, directed by Susan
Brown, and The Cabrillo Youth Chorus, directed by Cheryl Anderson. The student choral
club, Il Dolce Suono, provides a wonderful experience for our music majors. They perform
to rave reviews at various events on and off campus.
While these programs provide music education and access to cultural events, we have not been
able to discover a way to offer them as courses, which could generate FTES for the college. We
have several hundred students on campus each week, but they remain an ancillary part of our
program.
Is the program available at other educational institutions in this vicinity?
The University of California at Santa Cruz* and San Jose State University offer lower division
major programs, which are comparable to the Cabrillo program in music. California State
University at Monterey Bay is still not offering the breadth of lower division courses that is
available here. Cabrillo course offerings in Jazz are far more comprehensive than at most
universities, motivating UCSC students to regularly enroll in Cabrillo jazz courses. With its
variety of entry-level courses in every musical form, the Music Department encourages all
students to explore their interests in music education and, as they develop their musical skills,
these students contribute to the cultural vitality of our community.
*Effective Fall 2012, UCSC has decided to no longer offer class piano. They are telling their
majors to study privately or take piano classes at Cabrillo College.
List the appropriate universities with which your program has been articulated.
Articulation agreements are on file through Assist for 19 CSU’s and 8 UC’s (most are 2011-12.)
(See APPENDIX IV for List.)
These agreements vary in articulated courses. Several list specific courses and several do not,
because it is the standard practice at transfer institutions to rely upon the use of assessment
exams to place students into the appropriate level for their programs in theory, musicianship,
history, keyboard, ensemble and applied areas. All music courses are transferable. Our
department encourages students to consider schools with performance and music education
emphases. (An example is San Diego State University: there is no articulation agreement in
Music, but two of our students transferred successfully this past fall, with one receiving a
scholarship for Music Education. Through assessment, both qualified as Juniors.)
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Many of our Music Technology courses do not have articulation agreements with CSU or UC
because the emphasis is on Electronic Composition (such as at UCSC.) Our program has a
vocational emphasis, and serves as a practicum in support of other music areas.
The new TMC, Transfer Model Curriculum, for a BA in General Music has been approved at the
state, but we have not yet submitted our courses. (See APPENDIX V for description and
concerns.) The department is very concerned that the TMC is for a BA in General Music. There
is no provision for degrees in Music Education, Jazz Studies, Performance, Music Technology or
Music Therapy.
COSTS
Program Load
The Music Program has generally been slightly more efficient than the college over the last five
years, and is similar to the numbers of all of our previous program plans.
The academic year of 2008-09 shows a small decrease. Here is the explanation, according to the
Planning and Research Department:
“… during the academic years 2008-09, and 2009-10, the college-wide fill rate was increasing rapidly,
and hit 100% in 2009FA. Meanwhile, in Music, the section fill rate did not rise as rapidly (though it
was rising steadily). It was around this point where the WSCH/FTEF ratio for Music dipped below that
of the college.
In subsequent semesters, the college-wide fill-rate receded somewhat. It was this interaction that
resulted in the WSCH/FTEF ratio for Music returning to slightly-above that of the college.”
WSCH/FTEF
MUSIC
fall
2006/07
2007/08
2008/09
2009/10
2010/11
555.9
570.5
592.5
612.8
609.7
music average
spring
552.1
555.2
595.7
624.4
618.8
COLLEGE
fall
554
562.85
594.1
618.6
614.25
545.3
550.7
609.6
626.1
590.7
college
average
spring
516.2
534.6
612.7
603.1
587.7
530.75
542.65
611.15
614.6
589.2
#higher
23.25
20.2
-17.05
4
25.05
% above
4.40%
4%
-2.80%
0.07%
4.30%
The department maintains a strong commitment to ensuring that operational continuity is
achieved. As adjunct faculty do not readily contribute to the program’s other needs in
recruitment, marketing, instrument repair/maintenance, planning, scholarships, publicity,
library/lab acquisition, or the many other details inherent to a comprehensive music program, we
rely upon contract commitment to achieve these goals. While the adjunct faculty contribute to
our comprehensive course offerings and are an invaluable component to the program, it is the
contract faculty who provide the leadership, expertise and dedication needed to maintain
program excellence. They also run the Bach Academy, Santa Cruz Jazz Festival, Touring
Chorus, and Children’s voice and strings programs , all of which reflect and promote the
influence of Cabrillo faculty-and our program- well beyond the College Campus.
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Are there any reasons that the data do not provide an accurate view of the program?
Non-Credit Courses
As stated above, non-credit Senior/Older Adult course sections for performing groups generate
1/2 WSCH but are not reflected in the numbers. (The number of seniors enrolled ranges from 50-100+ per year.)
How can the efficiency (load and cost effectiveness) of the program be improved?
From our 2000-01 Program Plan:
“Increased efficiency would require significantly increased enrollment, which our current facility
cannot bear. Our faculty and hourly staff should be commended for their dedication and
commitment to music education, in spite of inadequate facilities. The load data stated above
validates this commitment. Our students succeed because of their desire to learn music. They
work in an inadequate facility with often-outdated equipment. Noise levels are high and practice
areas are minimal. Concert dates are squashed in at the end of a semester, creating stress for the
majority of our music majors and minors who perform in more than one group. . What we need
is a true music facility, with adequate staff and equipment support. Our students and our
community deserve it. With a dedicated facility designed to teach music we will be able to offer
more courses to serve more students, and increase efficiency and success.”
From our 20067 Plan: “As we look across the street at the rising of the Music Facility, we look
forward to serving more students and providing increased access to the cultural community of
Santa Cruz County.”
2012 Program Plan
While the students, faculty and community are absolutely loving our dedicated facility, the
rooms were designed to fit the existing program, so enrollment has not increased. We always
taught maximum students for most programs and, with decreases in teaching units, we are
offering a smaller program than before. We have noticed that there is a decrease in attrition, as
students find the sense of community supportive. Students and faculty alike can find each other
and share their common experience within these walls. The Music Lab has become the hub for
students and faculty, and practice rooms are in constant use.
FTES INCOME and PROGRAM EXPENDITURES
The Music department has generated between 4.5 and 5% of the college FTES during the past 5
years, and has cost between 4.2 and 4.4 % of the college expenditures. This is consistent with the
past Program Plan figures, despite a decrease in teaching units.
Despite the specialized needs of equipment, supplies, maintenance, and operational support, the
Music Department does not present a large cost to the college; however, we do use considerable
ancillary and foundation funds to supplement our costs.
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FTES
Year
Music
College
2006/07
551.7 11036.3
2007/08
570.7 11736.2
2008/09
589.0 12993.1
2009/2010
587.0 12307.0
2010/2011
577.6 11491.6
%
income/expense
income ratio
4.999
1.19
4.862
1.17
4.533
1.08
4.770
1.11
5.026
1.15
EXPENDITURES
** See Below
Music
College Base
Expenditures
%
College
Program
Expenditures
from Sources
Other Than
Base
Academ
ic Year
Program
Base
Expenditure
s
Actual
music
2006/07
$1,126,483
$26,804,852
4.20%
$181,517
$1,308,000
2007/08
$1.202.916
$28,942,536
4.16%
$156,333
$1,359,249
2008/09
$1,194,091
$28,576,256
4.18%
$144,963
$1,339,054
2009/10
$1,159,538
$26,987,796
4.30%
$146,035
$1,305,573
2010/11
$1,166,177
$26,689,764
4.37%
$115,292
$1,281,469
Cost Center(s) included:
Program Expenditures from Other Sources Other Than Base Include:
Categorical Funds & Grants (Fund 12, 13, 17 & 79)
Cost Centers: 4956, 4958, 4959, 4960, 4961, 4962, 4964, 4965, 4966, 4967, 4968, 4969, 4970, 4971,
4972, 4973, 4974, 4975, 4976, 4977, 4978, 4979, 4981, 4982, 4983, 4984
Outside funding sources. The Music department receives outside funding from a variety of sources. While one-time
funds from the college contribute to overall operations (and vary greatly from year to year), Ancillary Accounts and
Grants support many programs. Several programs are self-sufficient. Children’s Program funds, for example, go
exclusively to fund those department-sponsored programs. Each performing group earns revenue through ticket
sales and fund raising events. These programs have had to use these monies to fund their basic programs, including
music purchase, instrument repair, facility rentals, paper, etc. In the past the ancillary funds went toward tours,
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Revised March 26, 2013
uniforms, etc., but now must supplement the basic programs. The goal is to restore General Funds so that
Ancillaries can serve other needs; including touring, guest artists, travel, etc., thereby enriching the performance
experience of students.
** RE: Expenditures from Sources other than Base: The department feels that the drop in
expenditures in 2010-11 is due to lower income from fewer and smaller public donations and
low interest rates for endowed accounts.
STAFFING, OPERATIONS/EQUIPMENT, ANCILLARY PROGRAMS
STAFFING:
Certificated: Currently there are 9 full-time instructors, the last one hired in Fall 2007 as the
retirement replacement in piano. There are 18 adjunct instructors, all of whom have been a part
of the department for over ten years. (See APPENDIX VI A)
Effective June 2013, the long-serving Music Program Chair will retire. We hope to replace that
contract position in voice with a vocal/choral/technology position (See APPENDIX VI B.) The
current world music/percussion faculty member will assume Program Chair.
We have found that having Contract Instructors in most of our areas has improved instruction
and built these programs till we are bursting at the seams. Since hiring new contracts in 2004,
2005, and 2007, our Band, World Music and Piano programs have all increased in size and
musical level. Only the decrease of units due to budget cuts is preventing more growth in these
areas. In the future, a growth position in Guitar would round out our Contract faculty.
Classified: For the 30th year, there are NO classified staff positions assigned to the Music
Department. We rely upon temporary hourly and student help to run the music technology labs
and music libraries, help with publicity, provide accompanists, repair instruments/equipment,
and serve at TA’s for our many performing groups. The position of Performing Arts Technician
has been revised to support Theatre Arts only. While Music used that person rarely, now the job
description and responsibilities have shifted to the Theatre Arts program and the Theatre
building. Also, the Assistant Theatre Operations Manager, while hired with an emphasis in
sound, has limited time to help in the Music facility, beyond performances in Samper Hall. He
cannot support our MTRA.
We have not been successful in any of the outlined areas from the 2001 OR the 2007 Program
Plan, including a Music Technician, Music Librarian, Accompanist and Publicist. We continue
to struggle to find volunteers and student assistants. Qualified accompanists have become even
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more difficult to find and keep. While the Cabrillo Marketing Department hired a VAPA
dedicated position, her duties have become more college-wide and the Music department’s
publicity remains inconsistent. (Her position has recently been reduced.) Most performing
groups pay for their own publicity materials. As mentioned above, the lack of a dedicated Music
Technician is severely impacting our Technology program, which will become even more
critical with the implementation of the Music Technology and Recording Arts (MTRA) AS
degree and the Certificate of Achievement.
OPERATIONS/EQUIPMENT
 General Fund. The costs of instruments, equipment, sheet music, accompanists, guest
artists, repairs, etc. continue to increase, but since 2009, our operating budgets have
continued to decline.
New fees and costs for ensembles are taking a bite out of their ability to support their
public performances. The new on-line format for ticketing, Vendini, was started in Spring
2012, charging each group for each ticket, sold or “comped.” A new 2% fee to use our
ancillary accounts will make an additional hit on our programs. Many costs of using
Duplications has now come to us as well.

Instruments. While we anticipated significant new equipment for the new facility, due to
budget constraints, very few new instruments were purchased from bond money: 1/3 of
the Steinway Grand, one Yamaha grand (used), one cello, some percussion instruments.
All other pianos were brought over from the old building (11) or donated (14 ) so we now
have pianos of varied (mostly poor) quality. We received a Yamaha Grand donation in
Fall 2012, which is performance quality, and an organ. The fact that we received NO
band instruments continues to negatively impact our band program. We can’t support
new band students unless they already have instruments; we can’t expect advanced
players to have their own specialty instruments, such as bass trombone, oboe, tuba, etc.
Universal Audio, of Scotts Valley, made significant donations to the Music Technology
program. The music department paid for piano spiders(trolleys) and piano moving, and
for new choral risers (Summer 2011, $18,000.00) from our general fund budget and
foundation accounts. Repair and upkeep for our current instruments is a significant cost
each year—our repair budget has not kept up. Many students donate the funds to re-hair
bows, for example. Our Piano Lab has several pianos that need repair. The costs for
piano tuning, and maintenance of our performance instruments has increased
dramatically over the past three years, with no increase in the budget.
ANCILLARY PROGRAMS
 Children’s Music Program/Music Education. Our Youth Strings program, directed by
contract faculty member, Susan Brown, and Youth Choir program, directed by contract
faculty member, Cheryl Anderson, continue to flourish. We had hoped to find a way to
make them FTES generating, but that has not happened. It is anticipated that these
programs need to be restructured and offered through Community Education. During the
summer, we have been offering Cabrillo Youth Choir Camp, directed by Cheryl
Anderson, Cabrillo Summer Music Academy for Youth, directed by contract faculty
member, Susan Bruckner, and the Kuumbwa co-sponsored Jazz Camp, directed by
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Revised March 26, 2013
adjunct faculty member, Steve Wilson. We hope to continue these popular programs into
the future.

Cabrillo Stage is a non-profit, non-union, professional summer stock, musical theatre
company dedicated to presenting a diversity of musical theatre works with the goal of
educating as well as giving its audiences quality family entertainment; Cabrillo Stage is
recognized as one of the three major annual performing arts events in Santa Cruz County.
In 2006, contract faculty member Jon Nordgren became Producing Artistic Director and
has since taken the company to new heights producing four shows each season to sell out
crowds. Despite the elimination of its General Fund operational budget, Cabrillo Stage
continues its commitment to provide a nurturing, supportive, artistic environment which
allows all of its artisans, professional and non-professional, the opportunity to create
musicals with professional production standards.
Cabrillo Stage will be the central component for the proposed Musical Theatre Major and
Certificate program.
STUDENT SUCCESS
Course Success and Completion
The Music Department continues to have a higher ratio of Course Success and Course Completion than the college.
While the number of students has not increased significantly in our new facility, we feel that this is due to the fact
that we are actually offering fewer courses.
MUSIC
Academic
Course Enrollment
Year
Change
2006/07
2007/08
2008/09
2009/10
2010/11
Fall
Spring
Dept. Majors
Fall
Spring
Course Success
Fall
Spring
Course Completion
Fall
Spring
N N
N N
N N
N N
N N
N N N N N N
2,054
353
388
73.8%
73.9%
N1,869
N
N
N
N
N
N
N
N
N
N
N
N
N N87.6%
N N86.0%
N
1,992
2,052
372
399
74.1%
74.1%
85.8%
83.3%
1,975
N N
N 2,071
N N N367N N N379 N 74.2%
N
N 72.3%
N N 89.4%
N N 86.8%
N
1,982
2,173
374
383
76.8%
75.1%
87.2%
85.5%
N N
N NN 2,170 NN379 NN 399 N 75.7%
NN N 76.9%
NN N 85.6%
NN N 87.2%
NN
2,053
COLLEGE
Course Enrollm
Academic
Year
Change
2006/07
2007/08
2008/09
2009/10
2010/11
Fall
ent
Spring
Dept. Majors
Fall
Spring
Course Success
Fall
Spring
N N
N N
N N
N N
N N
N N
47,024
7,531
7,954
66.7%
66.6%
N48,151
N
N
N
N
N
N
N
N
N
N
N
N
N
51,362
51,727
8,425
8,572
67.3%
67.8%
8,948
N 55,923
N
N51,634
N N N
N N 8,677
N
N 68.5%
N
N 68.9%
N
52,836
49,920
8,726
8,446
69.7%
70.6%
N 49,730
NN NN48,438 N9,278
N NN 9,428 N 71.0%
NN N 71.9%
NN
12
Course Completion
Fall
Spring
NN
N N
80.3%
N 80.6%
N
N
N
80.6%
82.0%
N 85.7%
N N 84.6%
N
85.3%
84.7%
N 85.8%
NN N 86.3%
NN
Revised March 26, 2013
Degrees and Certificates
While the number of degrees looks low, many of our transferring students have not applied for
an AA; they just transfer. This is largely because four-year music departments
interview/audition perspective students and offer their support, without completed AA degrees.
For example, in Fall of 2012, two students transferred to San Diego State, two to Cal-State
Fullerton, and four to San Jose State—none of whom completed the AA.
The Music Technology Skills Certificate was introduced in 2010. With the pending Spring 2014
implementation of the Music Technology and Recording Arts AS and Certificate of
Achievement, we anticipate an increase in degrees.
The implementation of Music Skills degrees will also increase awarded Skills Certificates.(See
APPENDIX IIIB)
The department also feels that we need to strengthen our relationship with the Counseling
Division, to better-serve students, guiding them through the new AA-T degrees, keeping in mind
that this new degree is for general music, not for Bachelors of Music, Music Education,
Performance or Jazz Studies.
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Revised March 26, 2013
Degrees
Academic
Year
2006/07
2007/08
2008/09
2009/10
2010/11
Count
9
9
8
16
8
Time
8.7
9.8
5.9
8.1
8.6
Certificates of
Achievement
Count
Time
0
0.0
0
0.0
0
0.0
0
0.0
0
0.0
Skill Certificates
Count
0
0
0
1
2
Time
0.0
0.0
0.0
4.0
2.5
FTES/WSCH
The load for the Music Department has remained consistently aligned with the college totals, with a slight decrease
in 2008/09, rising by 2010/11. We have shown this consistency of expenditure and revenue in all past Program
Plans.
MUSIC
FTES
Academic
Year
Change
2006/07
2007/08
2008/09
2009/10
2010/11
Fall
WSCH
Spring
Fall
WSCH/FTEF = Load
FTEF
Spring
Fall
Spring
Fall
Spring
N N
N N
N N
N N
N N
N N N N N N
237.3
264.4
7,371.2
8,225.9
13.3
N255.2
N N N262.1
N N7,924.7
N
N 8,134.3
N N N N
N 14.9
N N 555.9
N N 552.1
N
13.9
14.7
570.5
555.2
259.1
274.3
8,019.7
8,482.5
13.5
14.2
592.5
595.7
N N
N N N N N N N
N N
N NN N N N N
263.1
282.1
8,130.6
8,736.3
13.3
14.0
612.8
624.4
N N
N
N
N
N
N
N
N
N
N
N
NN14.0 N 609.7
NN N 618.8
NN
262.3
279.5
8,124.9
8,663.0
13.3
COLLEGE
FTES
Academic
Year
Change
2006/07
2007/08
2008/09
2009/10
2010/11
Fall
WSCH
Spring
Fall
FTEF
Spring
Fall
WSCH/FTEF = Load
Spring
Fall
Spring
N N
N N
N N
N N
N N
N N N N N N
4,927.0
157,687.2
153,261.4
289.2
296.9
N5,068.5
N
N
N
N
N
N
N
N
N
N
N
N
N N 545.3
N N 516.2
N
5,405.1
5,248.1
168,320.7
163,414.1
305.7
305.7
550.7
534.6
189,534.5
N6,088.1
N
N5,901.3
N N
N N 183,474.9
N N
N 310.9
N N N 299.4
N N 609.6
N N 612.7
N
5,978.4
5,666.0
186,017.0
177,199.9
297.1
293.8
626.1
603.1
N5,569.6
NN NN5,446.5 175,542.6
NN N172,307.4
N
N297.2
N
N 293.2
NN N 590.7
NN N 587.7
NN
MUSIC WSCH/FTEF
Percent
of
College
WSCH
Academic
Year
Fall
2006/07
4.67%
2007/08
4.71%
2008/09
4.23%
2009/10
4.37%
2010/11
4.63%
Spring
5.37%
4.98%
4.62%
4.93%
5.03%
Percent
of
College
FTEF
Fall
4.59%
4.54%
4.35%
4.47%
4.48%
Spring
5.02%
4.79%
4.76%
4.76%
4.78%
This data characterizes a department with a steady, successful program. Programs enjoy
loyal support from the community and from area high schools, including the increased number of
private high schools in Santa Cruz County.
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Revised March 26, 2013
STUDENT LEARNING OUTCOMES (SLO’s) (See APPENDIX VII)
The Music Department was one of the first programs to participate in the SLO process from
Spring 2005 through Fall 2006. We established criteria for each of the CORE 4, created
assignments to assess SLO’s and compiled results. Our program was used as a model for other
disciplines. (At that time we were encouraged to have 3-4 SLO’s per course.)
However, since the initial Program Plan SLO component was completed, Music continued to
follow the same criteria and assessed an area of the CORE 4 every semester through Fall 2011.
Three semesters of findings were included in the Fall 2011 Yearly Update.
In Fall 2012, we discovered that Music has NOT in fact assessed our SLO’s correctly.
Somehow, the Program Chair never understood that each course SLO was supposed to be
assessed then discussed. We stayed with assessing the CORE 4. So, while we did a lot of work
and learned a lot about our courses, we are woefully out of compliance with the process to assess
each course SLO. Beginning for Fall 2012, the faculty set up mechanism to implement the
course-imbedded plan and process to assess their individual course SLO’s for the next six years.
The Spring 2013 Flex meeting will begin the process of compiling information to improve
student learning, and by the end of Spring 2013, we will have completed SLO assessment for
our courses. Also, we are working through CurricuNet to limit the number of SLO’s for
courses.
We will assess the MTRA Skills Certificate in Fall 2013. In collaboration with the SLO
Coordinator, we have written area-specific SLO’s for Performance, Applied, Theory,
Appreciation and Technology programs as well as for Skills Certificates in these areas. We will
be incorporating the assessments of these programs as they are implemented. We have developed
an assessment cycle for all Course, Program, and Skills Certificate SLO’s for the next six years.
RESULTS OF STUDENT SURVEY
As in previous Music Department reports, our students are our strength. Their goals and dreams
are what drive our Goals (page 4) and responsibilities. The faculty feels privileged to teach one
of the most important subjects in life. Conversely, what students praise about our program is our
faculty and the reputation of our program. The surveys demonstrate that the faculty passion for
music and their expertise is what draws them to our program and keeps them coming back for
more. Most students commented on our new facility with rave reviews, despite the noise levels
in the hallways. Students love the dedicated teaching spaces for technology and rehearsals. They
would have liked more student lockers. Most students praised the diversity of offerings and the
many programs in the Music Lab, although they want it open for more hours.
Many students were unhappy with the quality of our instruments, and lack of technology support
to help them.
Surveys were given to students in Comprehensive Theory II, which is Music Majors, Music
Appreciation and World Music, GE courses with mostly non-music students, and Chamber
Choir, our top choral ensemble, with majors and non-majors. 134 students were surveyed out of
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Revised March 26, 2013
over 1700 enrolled in Fall 2011, or approximately 8%. While we are pleased that music majors
were included in this survey, the department feels that the diverse nature of our program would
be more accurately assessed from a larger sample of our students.
CURRICULUM, REQUISITE, and MODEL PROGRAM REVIEW
STUDENT UNITS
To comply with the student Carnegie Unit formula, all applied and performance courses
lecture/lab units were changed in Fall 2011:
one student unit went from 1 lec/2 lab to .5 lec/2.5 lab (2 tu’s) (2hrs scheduled/1TBA)
OR from 1 lec/3 lab to .5 lec/3.5 lab (3tu’s) (3hrs scheduled/1TBA)
In the case of some performance ensembles, the load was changed to 5hrs lab.
CURRICULUM REVIEW
All Music courses were updated through CurricuNet in Spring 2012 and revised in Fall 2012.
Texts, Methods of Evaluation, Teaching Units and enrollment limits were upgraded to reflect
current policies. Content, Objectives and Assignment categories received clarification changes.
Some courses have been leveled to comply with the new Repeatability regulations. More
changes are coming for Spring 2013 to comply with the regulations as well as to strengthen and
limit SLO’s.
TRANSFER MODEL CURRICULUM (TMC)
Student units for Musicianship courses (MUS 1M, 2M, 3M, 4M) were submitted in Spring 2012
through CurricuNet to reflect the requirement, from 3 lecture hours for 3 student units to .5
lecture/3.5 lab for 1 student unit. The department is considering submitting current courses to
the TMC; we are not certain that doing so is in our students’ true interest. To date only a few
schools have done so. We will be discussing this in Spring 2013. (See APPENDIX V)
REPEATABILITY
As approved by the Chancellor’s Office in June 2012, Performance Ensembles and some
Applied Music courses will continue the 4 time repeatability, as defined by Title V. For other
applied courses, course sequencing will be submitted in Fall 2012 and Spring 2013. Currently,
students in ensembles who have exhausted the 4 time limit may audit. Seniors may enroll in
non-credit sections of the course. Work is being done in Sacramento to allow students to enroll
through Community Education. This is especially important to keep our performance ensembles
viable. The music major cannot get ensemble experience for transfer if there is no group.
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Revised March 26, 2013
NEW DIRECTIONS
The Next Five Years
The Music Department has several goals for the next five years. Many will have to wait until
budgets improve.
The long range effects of decreased repeatability, lowered budgets, loss of faculty will likely
affect our efficiency and success, resulting in lower FTES. The state-wide political turn away
from serving life-long learners will contribute to this decrease in our effectiveness. We hope
that moving toward providing a Community Education avenue for students to continue to
participate in ensembles will lessen this decrease.
1. Continue to align program with new state mandates:
Curriculum, TMC, Repeatability/Repetition, Non-Credit.
Support the state-wide proposal to allow students to enroll in performance courses
through Community Education.
2. Continue support of on-going programs
The budgets have not kept up with increased costs for supplies, tuning, applied music
stipends, accompanists, repair, etc.
Cost: See Below: Staffing and Budgets: Music Technology Program
Major/minor Program
3. Counseling Department Alignment
Establish regular contact with the Counselors to support our music transfer
students.
A. Have a music faculty member attend 1-2 counseling meeting each semester.
B. Invite a counselors to music department meetings
C. Create a small committee to update the department on Transfer Model Curriculum,
Assist Agreements, College-specific requirements, etc.
D. Assistance in transfer student tracking.
E. Assistance in tracking alumni.
Cost: None except for any materials for students, i.e. handbook, forms, etc.
4. Revise Applied Music Program
Re-address our current Applied Music course (MUS 16) to create a comprehensive
Applied Music program targeted to providing Private Instruction to Music Majors
A. Align content, objectives, SLO’s with 4-year requirements, and the TMC.
B. Refine Applied Music Program to include tracking student progress in lessons and
performance recitals.
C. Establish a Jury system to evaluate student progress.
D. Provide defined goals and objectives for each instrument.
E. Improve process for providing individual lesson support by professional musicians.
F. Improve the annual Scholarship Program to augment lesson support
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Revised March 26, 2013
5. Maintain the Music Department’s commitment to performance, in ensembles and
individually. Our philosophy is that excellence in Music Education is best achieved
through active participation in making music.
6. Promote interconnection with students
A. Develop Web Presence
B. Develop process for transfer student tracking.
C. Develop process for tracking alumni.
7. Develop Skills Certificate Programs (See APPENDIX II, III B)
MTRA:Music Technology and Recording Arts:
Completed: Skills Certificate
Submitted to state FA 2012: AS, Certificate of Achievement
Major Area Skills Certificate:
Voice, Instrumental (Strings, Winds, Percussion, Guitar), Latin Studies,
Jazz Studies
8. Develop a comprehensive major in Musical Theatre.
Provide skills and experience for students wishing to pursue a major in Musical Theatre,
that includes requirements from Music, Theatre Arts and Dance. (See APPENDIX IIIA)
*Align training with Cabrillo Stage.
*Create Programs: Musical Theatre Transfer Major
Musical Theatre Skills Certificate
Musical Theatre Certificate of Achievement
Staffing and Budgets 1. Music Technology Program
2. Music Major /Minor Program
1. Music Technology Program
To increase and improve success in Music Technology in our Smart Classrooms
(Theory/Keyboard, MIDI, Synthesis, and Recording), provide technical support for our
Music Technology Program and to support students in the areas of performance within our
new Recital Hall, the Music department recommends providing Classified support and
increased budgets to increase efficiency and promote student success. This includes
classroom and performance equipment maintenance.
Classified Staff:
Music Technician
100%
Cost: $49,700.00 annually (LIA)
Range 40, 12 month
Manage substantial equipment inventory and repair needs, facilitate multiple uses of rehearsal
spaces, troubleshoot recording studios and technical equipment. Technical support for smart
classrooms and rehearsal spaces.
Budgets: Increase budgets for to maintain working equipment that is up-do-date with
industry standards.
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Revised March 26, 2013
A. Music Lab: Increase supply budget by 60%, from $1,302 to $2083 per year. (headphones,
adaptors, cables, software upgrades, video/CD/DVD purchases, AV repair) INCREASED
ONGOING COST: $781.00.
B. Music Technology: Fund Technology Supply budget by 60%, from $1150 to $1840 per
year. (software and hardware upgrades, equipment repair)
INCREASED ONGOING COST: $690.00.
2. Music Major/Minor Program
To support students in reaching their music education goals, the Music Department
recommends increased funding to enhance its Performance/Applied/Methods program. This
includes hiring contract faculty in Choral/Vocal and Guitar, both with Technology
expertise, acquiring a Music Librarian and Staff Accompanist, providing increased lesson
support for students, and increasing budgets for sheet music and equipment. From
performance ensembles to theory to applied music instruction, the core of the Music
Department’s program is to maintain and expand its ability to meet the growing needs and
diversity of students. Increased access to the music program will promote success and reach
a growing population of under served students and audiences.
Classified Staff:
Music Librarian/Instrument Coordinator
100%
Cost: $47,334.00 annually (LIA)
Range 38, 12 month
The Choral/Vocal and Instrumental libraries, serving 10 ensembles, are housed in one
central location, the Music Library. Currently staffed by hourly help, there is a need for
dedicated librarian to manage $250,000.00 collection, including the database, for efficient
use by faculty and students. The $250,000.00 instrument inventory, including coordination
for instrument and equipment repair, bow rehairing, tuning, etc, is also managed through the
Music Library.
Staff Accompanist/Coordinator
80%
Cost: $37,867.00 annually (LIA)
Range 38, 10 month
Preparation and accompanying for rehearsals and performances of choral ensembles, voice classes
and auditions. Coordinate additional accompanist help for Music, Theatre Arts, and Dance
department needs.
Certificated Staff
Contract Faculty
A. Replacement Position: Cost: $ 39,062.00
The Music Department needs a vocal/choral/music technology position to
maintain the contract leadership that is so necessary for our program.
With the retirement of the Program Chair, the voice classes will lose their contract
leadership. We will have only one contract position in the choral/vocal areas. We need
another contract faculty member to help in the complicated coordination of running the
19
Revised March 26, 2013
vocal component of our program, and contribute to the choral program. Scheduling,
recruitment, high school outreach, etc. can only be accomplished by full time committed
faculty.
(Currently, the instrumental side of the house has four contract positions directing
performance ensembles. Full time commitment and expertise in our instrumental program
has created growth and maintained excellence in every area. For example, we now have 2
levels of Band, Jazz Band, and Orchestra and also offer Combos, Latin Ensemble, Piano
Ensemble, Guitar Ensemble, Percussion Ensemble and Chamber Ensembles. The students
have better access to performing opportunities, due to the innovation, expertise and follow
through provided by our contract instrumental faculty. )
Also, the Music Lab should continue to be coordinated by a contract faculty member (also
part of outgoing Program Chair’s assignment.) With the growth of our Music Technology
program through the pending MTRA AS and Certificate of Achievement , we are seeking a
faculty member with expertise and experience in technology. The role of the Music Lab is
changing to include better, more comprehensive support of this program. With the increase
in the depth and scope of the music technology program, an instructor with this expertise is
now needed to run the Music Lab.
Leadership is the key to the success of our music program. Each area has increased in
visibility and quality under the commitment of contract faculty. Our program fully deserves
to replace our retirement faculty member to help us continue to provide the best
opportunities to our great students.
Presently, music technology is a part of any music degree, so we are confident that
we can find a person with expertise and teaching experience in both areas.
B. New position: Guitar Cost: $91,112 annually
While we have had two excellent adjunct instructors in Classical and Jazz/Pop Guitar for
many years, a conversion to a contract position would provide expertise, leadership and
increased programmatic commitment in the department. Cost:
C. Musical Theatre Major Program:
Cost: 9-15 Teaching Units.
Budgets:
Professional Services:
a. Increase Applied Music Stipends for Private Lessons:
40 students/year X 12 lessons @ $25.00/lesson = $12,000/year.
Student contributes $80/year x 40 students = $3,200.00.
School total contribution would be: $8,800.
(Current budget = $2,400.00/year from college, $1,100 /yr from student) Currently, the amount
for 30 students /year is: $40 from the student, $80 from the college=$120 to an instructor,
which was set up in 1970’s to provide 12 lessons @ $10.
INCREASED ON-GOING COST: $6,400.00.
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Revised March 26, 2013
b. Provide Assistant Accompanist budget for applied instruction and performance
ensembles in Music, Theatre Arts and Dance.
Assistant Accompanists:
20 hrs/week X 32 weeks =640hrs @ $25.00 =$16,000.00
TOTAL yearly budget, including Staff Accompanist, above: $40,000.00
(Current budget = $24,210/year for Professional Services accompanists.
INCREASED ON GOING COST: $15,790.00/yr
c. Increase Piano Tuning budget.(never increased since before move)
Currently: $3800.00 = 24 pianos 2X year @ $80 = $3,840.00
Proposed: actual current cost: 25 pianos 2X year @ $115 = $5750.00
INCREASED ON GOING COST: $1,610.0/yr
d. Increase Repair budget: Our Korg electric pianos (usually $250-300 per piano), and
Audio equipment need constant repair. Instruments need periodic repair/maintenance.
Increase to $1,376.00
Currently: $376.00/year
INCREASED ON GOING COST: $1,000.00/year
Equipment:
Instruments:
There were NO wind/brass instruments purchased from the Bond Measure.
COST: $30,000-100,000 for 6-15 instruments ONE TIME
Pianos:
There were no pianos purchased during the move. The fifteen practice rooms need adequate
pianos to replace donated (terrible) ones.
COST: $6,000-8,000 each up 10 pianos =$6,000-$80,000 ONE TIME
Storage Cabinets:
Due to the varied use of each rehearsal hall, we need adequate ways to securely store
instruments, uniforms, and other supplies for teaching. Studio B needs to be able to store
equipment in order to become a functioning teaching space. Students need more lockers.
COST: $4,000-5,000 ONE TIME
Electric Truck /Cart:
During the design phase of the VAPA project, it was determined that the purchase of double
instruments would avoid the “schlep” factor that having two performance buildings would
create. No instruments were purchased, and it turned out that there is not enough storage
space under the theatre stage. We currently have students move things and there has been
damage to instruments (and several thefts.) The operations for performances should be
handled in a professional, efficient way. We need an electric truck to move instruments,
stands, chairs, risers back and forth among performance spaces. It will be used by all Music
and Theatre Arts and available to all of VAPA. COST: $12,000.00 ONE TIME
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Revised March 26, 2013
Supplies:
a. Restore Performing Ensemble supply budget: sheet music. Increase yearly budget to $
1,000 per group. (cut in 1995 from $1,000 to $400/year per group).
16 groups @ $1,000/group = $16,000.00. (Current budget = $6,400.)
INCREASED ON-GOING COST: $9,600/year.
b.
See Budgets under 1. Music Technology Program above.
c.
Increase publicity budget to $2,000 per year for advertising, fliers, and programs.
(Current budget =$800) INCREASED ON-GOING COST: $1,000.00
SUMMARY
The Cabrillo Music Department, despite continued decreases in funding, limited staff
support, antiquated equipment and technology, continues to succeed. Faculty and students
continue to seek outside funds in order to support the program. Faculty simply cannot be
expected to continue to provide for all support needs (library, inventory, publicity, repair,
etc.) and depend upon student volunteers to manage in these critical areas. The Music
Department seeks staff support and additional funding to reflect rising costs of program
operation and increased student enrollment. Students are Cabrillo’s greatest asset and music
students deserve to be fully supported in pursuit of their goals.
The Music Department wishes to continue to offer its quality music program to all interested
students in the greater Santa Cruz community. It is one of the largest music programs in the
California Community College system, maintaining a reputation of serving the educational
and cultural needs of a diverse student population. Students enroll in Cabrillo music courses
in order to pursue their life musical goals, which include music major transfer curriculum,
personal enrichment, private instruction, ensemble performance, technology, composition
and lecture format courses. The department is consistently recognized and applauded for the
expertise and dedication of its music faculty, and it’s variety of Western and Non-Western
musical offerings. The realization of the new facility is providing dedicated space for
courses, workshops, music festivals, and a myriad of other venues to address—to
celebrate—this diversity in music.
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Revised March 26, 2013
APPENDIX IA
FROM 2007 Program Plan
To improve and increase the ways in which we serve our students, the Music Department has outlined
several areas that we are in the process of developing to address changing trends in music
education and increase student learning.
A. Music Technology Program COMPLETED
A new Music Technology Certificate Program is being developed to satisfy present day
student demand, to reflect current trends in Music Education, and to make full use of our
“state of the art” Music facility currently under construction, in anticipation of future demand
for educational opportunities in Music Technology and Recording. All curriculum has been
written and an advisory board has been established, with plans to launch in the new facility.
It will include several 8-week sessions in various software programs. Led by faculty
member, James Durland, this program will offer students Certificates in Music Production,
Sound Engineering, or Electronic Music Composition. An Associate of Arts degree track
will also include rigorous requirements in the study of traditional music.
B. Music Major Program
1.Theory/Musicianship Program Revisions
 Integrate MUS 6-1-2-3-4 sequence to better track student progress in Theory and
Musicianship. COMPLETED
 Develop regular communication with Counseling Department, in order to serve student
goals and placement within the department. CARRY OVER TO 2012 PLAN
2. Applied Music / Performance Group Programs CARRY OVER TO 2012 PLAN
 Revise student contact hours to align with how other community colleges are offering
Applied Music. ELIMINATE
 Provide consistent Professional musical support with a Staff Accompanist.
 Provide consistent professional program support with a Music Librarian
 Revise Student Scholarship process
3. Piano Program COMPLETED
With the hire of a new contract in the piano program, we hope to create courses that better serve our
keyboard population, with short courses in Accompanying, Ensemble, and Advanced Techniques.
C. Program and Event Scheduling and Room Use COMPLETED
 Develop comprehensive plans, several years in advance, to accommodate all music,
theatre arts and dance performances. Our current program had been factored in to the
new dedicated spaces, and with no growth we can barely fit in our programs and events.
We will need to be creative and collaborative in our needs. There is still limited space,
limited staff and equipment to go around.
As of Spring 2012, scheduling has gone to once a year. Lack of staffing still
impacts use.

NO LONGER AN ISSUE: Due to the maximum use of on-campus spaces for our
existing program, the department would like to retain access to the Erica Shilling Forum,
Theatre, and Sesnon House. These occasional needs will serve the program, allow for
growth, as well as support our ancillary Children’s programs, which remain important to
the teaching of music.
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Revised March 26, 2013
APPENDIX I B
Changes in the Music Program since the 2007 Program Plan and affecting the
next six years:
1. New Facility
2. Music Technology and Recording Arts (MTRA) Program,
3. To Be Arranged Hours
4. Carnegie Unit Calculations
5. Repeatability
6. Transfer Model Curriculum (TMC)
7. Applied Music
8. Performance Space Rentals/ Box Office
1. New Facility
In fulfillment of the 1998 bond measure that included a Visual and Performing Arts Complex,
the Music program began the Fall 2009 semester in our new facility, which includes dedicated
classroom, rehearsal, practice, and storage space and a 350-seat performance space, recently
named the Barbara Samper Recital Hall. We knew that “if we build it they will come”, but did
not anticipate the overwhelming response of students. The lab and practice rooms are in constant
use, we have run out of storage space, classes are packed. The sense of community that has
developed within our building extends among faculty and students. It’s a great place to learn!
We have had several problems with the building, most notably the HVAC system and acoustic
problems in the newly-named Barbara Samper Recital Hall. In spring 2012, we had an
acoustician visit and prepare a report about possible fixes to make the space more amenable for
our groups. We hope to have the funds to accomplish these changes.
2. Technology Program
As indicated in the Program Direction of the 2007 Program Plan, we now offer a Skills
Certificate, which many students earn while taking their major courses( APPENDIX II). After
five years of preparation our Music Technology and Recording Arts (MTRA) AS degree and
Certificate of Achievement have been submitted to the state for approval. The anticipated launch
is Spring 2013, offering degrees/ certificates in Music Production, Sound Engineering, or
Electronic Music Composition. While the program is already highly impacted, we do not
anticipate obtaining additional teaching units any time soon. The 2-year program will have
several courses taught only once a year, so many students will need to take longer to earn their
degrees. This is very unfortunate, as the program could absolutely explode with more units and
staffing.
3. TBA Hours
In Summer 2011, all Community College Courses with To Be Arranged (TBA) hours were
audited. Many colleges were deemed out of compliance with state regulations, including
Cabrillo.
The Music Department has two categories of TBA.
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Revised March 26, 2013
A. Music Lab Attendance Requirement. The Music Lab is a resource center for students
to complete additional assignments, and receive tutoring for many of our courses.
While we had a process for accountability, we were out of compliance with regards to
having students log in during the first week and each week (we had thought that the
equivalent total hours was sufficient, not each and every week.)
B. Performance Ensemble TBA Hours. As with all college ensembles, TBA hours
account for extra rehearsals, performances, field trips, etc. We have done two things
to address compliance:
1. For ensembles with one hour TBA, we have scheduled the hour so that a course
that was previously scheduled for 3 hours/1hr TBA per week, is now scheduled
for 4 hours per week.
2. For ensembles with more than one hour TBA, we are now calculating attendance
as Positive Hour Attendance, rather than Census.
Although there has been some concern that Positive Hour Attendance could result in
lowered FTES, the nature of performance ensembles required a full commitment by
students, so the drop-out rate is very low. Also, scheduling the extra TBA hours has
caused some time overlap and room assignment problems. We are hoping to move to
Positive Hour Attendance calculations for all ensembles.
Should TBA be eliminated from our program, the department stands to lose
significant FTES, as all courses have one hour TBA. For example, MUS 6,
Fundamentals, is 3hours lecture/1 hour TBA (in the Music Lab), or 4 FTES for 3
teaching units. The loss of the lab hour would result in 3hours lecture for 3 teaching
units.
We incorporated the Lab component (as described in B above) because we felt that it
pedagogically increased a student’s success. The discipline of Music education for
our students, who enter our program with little or no experience, actively respond to
one-on-one help, computer programs, and sectional rehearsals/performances. We feel
that this extra, directed study outside of the scheduled course is absolutely necessary
in order for students to gain the skills necessary to transfer and/or pursue their music
education. We hope to be able to offer our students this access.
4. Carnegie Unit Calculations
In order to comply with Carnegie Units calculations regarding student hours and unit
credit, in Fall 2011 the Music Department changed the lecture/lab calculation for all
Performance and Applied Music courses (see III Curriculum section). Most music
programs had previously been calculated as lecture/critique, due to the rigor of
ensembles, for only one student unit each, in order to not create many extra units on a
student’s transcript. The new calculations retain that goal.
5. New for 2012-13: Course Repeatability
Unlike Course Repetition, which now allows only 3 repeats if a student receives a nonpassing grade, this past year Music Programs throughout the state successfully argued the
need for Repeatability for students who PASS in Performance Ensembles and Applied
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Music. The Chancellor’s Office has changed Title V to maintain a four-time repeat for
these courses (SB1440.) Other courses, such as piano, will be sequenced in order to
comply. For Example, Classical Guitar used to be two courses, MUS 33AB, each taken
twice. We have sequenced the curriculum to be MUS33ABCD. We are submitting
curriculum in Fall 2012 and Spring 2013 for other courses.
One negative effect of the course repeatability limitation argument has been the focus on
“life-long learners.” In most cases allowing these students to repeat courses when not
necessarily seeking to transfer is receiving scrutiny in these budgetary hard times.
However, for Performance Ensembles, students need ensemble experience: the student
trumpet major cannot perform the required literature in a Jazz Band, for example, without
the correct instrumentation—perhaps there is no student drummer, so we need a
community player. A voice major needs to sing Choral Masterworks in a large choir (no
community college has the required 100+ voice majors!) Currently, the community
musicians can audit or, if a senior, enroll in the non-credit sections. The State Academic
Senate has proposed allowing enrollment in the ensemble through Community Education,
but to date there is no progress.
Most performing ensembles have been very efficient: high enrollment for few teaching
units. The audit, non-credit and community education avenues to enroll these students
will significantly reduce the FTES generation of the ensembles.
6. New for 2012-13: Transfer Model Curriculum (TMC)
As directed by 2010’s SB 1440, California State Universities have instituted a suggested
course of study for transferring community college students, the TMC. (See APPENDIX V)
Established to streamline and coordinate accepted courses for transfer, we believe that the
TMC is woefully inadequate for music majors. The limit of 24 units to transfer has several
critical flaws:
A. Many community college students start with NO previous musical background, and
need to learn the “basic skills” of music, in theory, acuity, technique and experience
in order to be prepared to transfer and compete with four-year students.
B. The limitations of the TMC include: NO required piano courses. Although they are
recommended, the units would be outside the 24 unit limit. Keyboard skills are
critical in music education as all theory/reading/musicianship study is based on the
keyboard.
UC Santa Cruz has recently cut their class piano program; instead the following
appears on their web site: “Students entering … with minimal keyboard skills
should seek additional private keyboard training throughout the theory sequence.”
One instructor told me that she is recommending that her students take class piano
at Cabrillo College.
C. The limitations of the TMC include: NO Music History/Appreciation course
Although it is recommended, the units would be outside the 24 unit limit. Many
CSU’s and UC’s require a historical survey/appreciation course during a student’s
freshman year. While such a course may count for a student’s GE, it does not count
in the major.
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D. The limitations of the TMC include: NO Music Technology courses. Although they
are recommended, the units would be outside the 24 unit limit. Most CSU’s and UC’s
require a technology course during a student’s first two years, as computer notation
and technology is now standard for assignments, ear training, composition, and
recording performances. While one tech course may count for a student’s GE, it does
not count in the major, and is not sufficient to cover a student’s needs..
E. Only 4 semesters of performance ensemble experience would leave our students
woefully underprepared in the area of music literature, especially for Music
Education Majors. Currently, many CSU’s require large and small ensemble
enrollment each semester; under the TMC, community college students could not
count additional ensemble work.
F. Only 4 semesters of Applied Music excludes the “basic skills” beginning courses that
many students need before private instruction.
The TMC in Music is for a BA in Traditional General Music only. It has no provision for a
BA in Jazz Studies, Composition, Performance, Music Education or Music Technology. It
does not apply to a Bachelor of Music. In informal discussions with several CSU Music
Chairs, we have been told that students should continue to study and then go directly to their
departments for assessment. In fact, for Fall 2012, several music majors have been accepted
to San Jose State, Cal-State Fullerton, Cal-State Long Beach and San Diego State, all with at
least 87 student units. Many of these students received scholarships. They were each at
Cabrillo for at least three years. (Zendrex Llado (09-12, 87units), Elizabeth Shipton (09-12,
91units), Duncan Shipton (07-12, 88units), Rachel Rohe (08-12,111units), Janie Dusenberry
(08-12, 114 units).
The student limitation for students transferring to the UC system has been in place for many
years. However, in music, our students are assessed and often accepted despite having many
units. If students otherwise qualify, the extra units are just not counted.
We hope that, despite budget restraints, California Public Universities will not inadvertently
exclude otherwise qualified students from transferring because of additional necessary music
units they took in order to compete at the Junior level.
Another, inadvertent consequence of the TMC is lower FTES generation. The theory program’s
four Musicianship courses, currently 3 students units per course, has been submitted to the
curriculum committee to reduce the student unit to 1 student unit, to align with the TMC. Music
will lose the FTES that has been generated for those 3 unit courses that will still meet 3 hours per
week. Also, if students cannot take all the courses they need to gain skills, there will be a
decrease in courses offered and thus, a decrease in FTES generation.
7. Applied Music
Many schools call instruction on instruments, in an individual or class format, “Applied
Music,” the concept is receiving a narrower focus with regard to repeatability and the
TMC. While discussed in the 2006 Program Plan, the Music Department has made no
progress in creating an actual process for Individual Music Lessons. Our current Applied
Music course is an attempt to give recital experience and credit for instruction. However,
to align with the new emphasis on Applied Music for repeatability and the TMC, we have
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added a faculty jury component to our course outline. Students will perform a graded
jury at the end of each semester. That grade will be included in the final grade for
Applied Music, MUS 16.
8. Performance Facility Rental Policies and Box Office
After being in our new facility for three years, VAPA has created a new Facility Rental
Fee process and structure for renting out the Samper Recital Hall as well as the Crocker
Theatre and Black Box. This represents a lot of work to find viable, affordable ways to
serve the college and community while maintaining the primary purpose of Instruction.
The ticketing process in included in these new policies. Our groups are now all going
through Vendini, a software ticketing system. VAPA has a temporary Box Office
manager and patrons may buy advance tickets on line, by phone, or at the box office.
While this change is likely the wave of the future, the music faculty has concerns about
the costs involved. It remains to be seen how this affects our groups. Most of our events
have traditionally served walk-up patrons only. We want to continue to provide
performing opportunities to our students without needing to be concerned about the rising
costs of piano tuning, staffing, publicity –and now, ticketing.
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APPENDIX II
MUSIC TECHNOLOGY and RECORDING ARTS (MTRA)
The music department has established a Skills Certificate and has submitted proposals for an AS
and Certificate of Achievement.
Music Technology Skills Certificate
This certificate program prepares students for a career in the music
industry. The program is designed to produce mid-level to professionallevel producers, engineers, and musicians. The course of study will
cover all aspects of the music production process including recording,
marketing, and distribution. This skill set will prepare students for
careers in digital audio, recording, production, electronic music com
position, as well as arranging, songwriting, and sound design.
Required Courses
MUS 5 Beginning Jazz/Pop Music Theory . . . . . . . . . . 3
OR
MUS 6 Fundamentals of Music . . . . . . . . . . . . . . . . . . 3
MUS 7 Music Synthesis, Sampling, and
Electronic Music. . . . . . . . . . . . . . . . . . . . . . . . 3
MUS 28 Popular Songwriting . . . . . . . . . . . . . . . . . . . . 2
MUS 31A Introduction to Recording Studio . . . . . . . . . 1½
AND
MUS 31B Intermediate Recording Techniques:
The Project Studio . . . . . . . . . . . . . . . . . . . . 1½
OR
MUS 31LS Recording Techniques III:
Live Sound Production . . . . . . . . . . . . . . . . . 1½
MUS 51A Beginning Piano I. . . . . . . . . . . . . . . . . . . . . . . 1
MUS 57A Music and Computers I:
Digital Audio Workstation . . . . . . . . . . . . . . . 1½
AND
MUS 57B Music and Computers II:
Electronic Music Composition . . . . . . . . . . . 1½
OR
MUS 57NS Music and Computers III: Music
Notation and Scoring . . . . . . . . . . . . . . . . . . 1½
Total Units 12-15
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APPENDIX III A
Develop a comprehensive major in Musical Theatre.
Provide skills and experience for students wishing to pursue a major in Musical Theatre, that
includes requirements from Music, Theatre Arts and Dance
*Align training with Cabrillo Stage.
*Consider current curriculum:
Music
MUS 15A Jazz/Pop Solo Voice
MUS 17A Beginning Voice
MUS 65 Opera Workshop
MUS 66 Opera Theatre Production
MUS 75 Musical Theatre Production (Cabrillo Stage)
Theatre Arts
TA 10A Basic Acting Techniques
TA 11 Voice and Diction for the Theatre
TA 12A Movement for Actors
TA 29 Rehearsal and Performance
TA 75 Musical Theatre Production (Cabrillo Stage)
Dance
DANCE 61 Introduction to Dance
DANCE 65 Jazz Dance
DANCE 66 Choreography
*Research Musical Theatre Programs
A.
B.
C.
D.
E.
UC Irvine: BFA Musical Theatre (see next pages)
Cal-State Fullerton: BFA Musical Theatre (see next pages)
Alan Hancock Community College
Foothill College
Santa Rosa College
*Develop new curriculum
*Create Programs:
Musical Theatre Transfer Major
Musical Theatre Skills Certificate
Musical Theatre Certificate of Achievement
Cost: 9-15 Teaching Units.
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UC:IRVINE
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APPENDIX III B: Skills Certificates
JAZZ STUDIES
MUS 5A
or
MUS 6
MUS 9
MUS 24A
MUS 24B
MUS 24C
MUS 11A
OR
MUS 11LA
OR
MUS 12
MUS 51A
MUS 50
MUS 60
MUS 44
MUS 46
MUS 56
3
3
1
1
1
3
1
4
17
JAZZ/POP VOICE
MUS 5A
or
MUS 6
MUS 15A
MUS 15B
MUS 15C
MUS 17A
MUS 11A
OR
MUS 13A
MUS 27
OR
MUS 51A
MUS 38
MUS 56
3
1
1
1
1
3
1
4
15
VOICE
MUS 5A
OR
MUS 6
MUS 10
MUS 17A
MUS 17B
MUS 17C
MUS 17VD
3
3
1
1
1
1
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MUS 51A
MUS 16
ENSEMBLE
1
2
4
17
JAZZ/ROCK GUITAR
MUS 5A
OR MUS 6
MUS 6
MUS 11
MUS 24 A
MUS 24B
MUS 26A
MUS 26B
MUS 26C
MUS 51A
ENSEMBLE
3
3
1
1
1
1
1
1
4
16
PIANO
MUS 6
MUS 10
MUS22A
MUS 22B
MUS 23
MUS 51A
MUS 51B
MUS 51C
MUS 51D
MUS 68
MUS 68CP
3
3
1
1
1
1
1
1
1
1
1
15
CLASSICAL GUITAR
MUS 6
MUS 10
MUS 33A
MUS 33B
MUS 33C
MUS 33D
MUS 51A
MUS 16
ENSEMBLE
3
3
1
1
1
1
1
2
4
17
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INSTRUMENTAL
MUS 5A
OR
MUS 6
MUS 10
OR
MUS 11
OR
MUS 11LA
OR
MUS 12
OR
MUS 13A
MUS 18A
MUS 18B
OR
MUS 19A
MUS 19B
MUS 18CB
OR
MUS 18JB
OR
MUS 20
OR
MUS 52
MUS 51A
MUS 16
ENSEMBLE
3
3
wind/brass
1
1
strings
2
1
2
4
17
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APPENDIX IV
Assist Articulation Agreements
California State University Bakersfield (BA Music)
California State University Chico (BA General Option, Music Education, Music Industry/Technology, Recording Arts)
California State University Dominguez Hills (BA General Music, Music Education, Performance)
California State University East Bay ( BA Music)
California State University Fresno (BA Composition, Performance, Music Education, General )
California State University Fullerton (BA Liberal Arts, Music History and Theory, Music Education;
BM Composition, Instrumental, Keyboard, Voice, Accompanying, Jazz & Commercial Music )
California State University Long Beach (BA General Music, Choral-Vocal, Composition, History, Instrumental, Performance)
California State University Los Angeles (BA, BM Composition, Jazz Studies, Performance, Keyboard, Music Education)
California State University Monterey Bay (BA Contemporary Music, Jazz , Recording/Technology, Vocal)
California State University Northridge (BA Breadth Studies, Music Industry, Music Education, Music Therapy;
BM Instrumental, Vocal, Composition/Theory/ Commercial & Media Writing, Jazz studies)
California State University Sacramento (BA General; BM Music Education, Jazz Studies)
California State University San Bernardino (BA General, Ethnomusicology, Music Education, Technology,
Performance/Composition; Musical Theatre)
UC:
California State University San Marcos (BA Arts and Technology: Music Option)
Humboldt State University (BA Performance, Composition, Music Education)
San Diego State University (Not Listed in Assist, but offers BA, BM and Performer’s Certificate)
San Francisco State University (BA Music, BM Music )
San Jose State University (BA, BM General, Composition, Jazz Studies, Music Education, Performance)
Sonoma State University (BA Applied, Jazz Concentration, Liberal Arts, Music Education)
Cal-Poly Pomona (BA Music Education, Music Industry, Performance)
Cal-Poly San Luis Obispo (BA Music)
University of California Berkeley (BA Music)
University of California Davis (AB Music)
University of California Irvine (BA Music, BM Music, BFA Musical Theatre)
University of California Los Angeles (BA Music, Music History, Ethnomusicology)
University of California Riverside (BA Music, Music and Culture)
University of California San Diego (BA Music, Music/Humanities)
University of California Santa Barbara (BA Music, BM Music)
University of California Santa Cruz (BA Music, BM Music; Electronic Music Minor, Jazz Minor)
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APPENDIX V
Transfer Model Curriculum
February 22, 2012 (Edited 6/4/12)
CCC Major or Area of Emphasis:
Music
CSU Major or Majors:
B.A. General Music (or equivalent)
Total units: 23 or 24
(all units are semester units)
Degree Type (indicate one):
AA-T X
“Core” Courses:
Required
OR
AS-T_____
21 or 22 semester units (28-30 quarter units)
Title (units)
Music Theory I (3)
(See option in “Notes” below)
C-ID Designation
MUS 120 Music Theory I
Music Theory II (3)
Music Theory III (3)
Music Theory IV (3)
MUS 130 Music Theory II
MUS 140 Music Theory III
MUS 150 Music Theory IV
MUS 125 Musicianship I
Rationale
Transfer requirement
GE Area C1, may double
count
Transfer requirement
Transfer requirement
Transfer requirement
Transfer requirement
*
Musicianship III (1) *
Musicianship IV (1)*
MUS 135 Musicianship II
Transfer requirement
MUS 145 Musicianship III
Transfer requirement
MUS 155 Musicianship IV
Transfer requirement
Applied Music (4 sem or 6
quarters, min 0.5 unit each)
Ensemble (4 sem or 6
quarters, min 1 unit each)
MUS 160 Applied Music
Transfer requirement
MUS 180 Ensemble
Transfer requirement
Musicianship I (1)*
Musicianship II (1)
*These courses may be combined with same level Music Theory into one course, but must meet
objectives of both listed courses.
Notes:
1. In lieu of Theory I and Musicianship I (above), colleges may substitute the following:
Music Fundamentals (3)
MUS 110 Music Fundamentals
GE Area C1, may double
count
2. During the vetting of this TMC, faculty also wanted to communicate their belief that students
should also be encouraged to study the courses below.
Music Appreciation
MUS 100 Music Appreciation
MusicHistory/Literature**
No C-ID designation yet
Music Technology**
No C-ID designation yet
GE Area C1, may double
count
GE Area C1, may double
count
st
To develop 21 C. skills and
improve employability
**See attached.
3. The faculty also recommend that colleges require piano keyboard proficiency by exam.
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Music TMC Summary
Summary of Feedback Including Issues and Concerns: CCC music faculty felt strongly that the proposed
TMC AA-T degree, due to unit limitations in the law, would provide weaker major preparation than
existing AA degrees. In particular, there was no room in the unit limitation to require keyboard courses,
music literature/history courses, or multiple ensemble experiences (both large and small ensembles).
Many faculty felt that their college may develop the AA-T, but that they would advise students to instead
complete the existing AA degree for this reason. CSU faculty felt that the AA-T as proposed would suffice
as preparation for a general music B.A, but would be insufficient preparation for B.Mus or B.Mus.Ed
degrees (most of which are more than 120 total units in the CSU).
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APPENDIX VI A
Music Department Faculty Academic year 2012-2013
Contract Faculty
Cheryl Anderson: Fall 1994 (date of hire)
Cabrillo Chorus, Cantiamo! Opera Workshop, Chorale, Musicianship, Applied Music, Touring Chorus,
Voice and Diction, Cabrillo Youth Chorus.
Ray Brown, Fall 1975
Jazz Theory, Improvisation, Arranging, Combos
Susan Brown, Fall 1981
Beginning Strings, Chamber Ensembles, Intermediate Orchestra, Fundamentals, Piano, Children’s String
Program
Susan Bruckner, Fall 2007
Piano, Music Appreciation
James Durland, Fall 1992
MIDI and Computers, Recording Studio, Jazz Appreciation, Fundamentals
Jon Nordgren, Fall 2004
Jazz Ensembles, Symphonic Winds, Intermediate Jazz Band, Intermediate Concert Band,
Beginning Winds, Theory, Music Lab, Artistic Producer: Cabrillo Stage
Michele Rivard, Spring 1987 (will retire Spring 2013)
Music Program Chair, Lab Coordinator, Voice
Fred Squatrito, Fall 1975
Theory, Musicianship, Correlation of the Arts, Applied Music
Michael Strunk, Fall 2005
Percussion, Latin Ensemble, World Music, Latin American Appreciation, Lab
Adjunct Faculty
Dr. Donald Adkins, Fall 1987
Orchestra, Piano, Music Appreciation, Theory
Kathryn Adkins, Fall 1993
Voice
Mark Bidelman, Fall 1988
Women’s Chorus, Jazz Singers
Guy Cantwell, Fall 1987
Classical Guitar, Survey of American Popular Music, Fundamentals
Aude Castagne, Spring 2000
Music Lab
Phil Collins, Fall, 2000
Music Lab
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Suzanne Duval, Fall 1996
Music Lab
Stephanie Gelman-Peck, Spring 1994
Appreciation, Intro to Music for Teaching and Learning
Nancy Kvam, Spring 1990
Music Lab
Barbara Lopez, Fall 1993
Piano, Jazz Piano, Music Lab
Michael J. McGushin, Fall 1987
Westside Folk/Gospel Choir, Theory, Musicianship
Scott Nordgren, Fall 2000
Music Lab
Susan Parrish, Spring 2000
Fundamentals, Music Lab
Josef Sekon, Spring 1999
Music Lab
Jim Stewart, Fall 1991
Recording Techniques, Music Lab
Walt Trindade, Fall 1977
Popular Guitar Techniques, Beginning Jazz/Rock Guitar, Advanced Jazz/Rock Guitar, Jazz/Pop Solo
Voice, Jazz Appreciaton
Steve Wilson, Fall 1978
Fundamentals, Popular Songwriting, Music Lab
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APPENDIX VI B
REQUESTED TENURE-TRACK ACADEMIC POSITION to replace retiring Program Chair
1. Brief Program Description:
The Music Department’s Choral/Vocal program is recognized throughout the state as one of the most
successful, comprehensive programs for students. Many of our voice majors have transferred to UC and
CSU universities, as well as to Conservatories, having gained a thorough knowledge of training and
experience in technique and musical literature. (In Fall of 2012, we have had 2 voice students transfer to
San Diego State, 2 to Cal State Fullerton, 2 to Cal State Long Beach, and 4 to San Jose State University.)
This has happened because of contract leadership from two faculty members. We fully anticipate that the
choral and vocal music program will continue to serve our many students. (Voice classes: 100 students this
Fall; Choirs: 350+ students this Fall.) Coordinated contract leadership is needed to maintain the strength,
high FTES and success of our choral/vocal program.
With the growth of our Music Technology program through the pending AS and Certificate of Achievement
in Music Technology and Recording Arts (MTRA), we are seeking a faculty member with expertise and
experience in technology. The role of the Music Lab is changing to include better, more comprehensive
support of this program.
Leadership is the key to the success of our music program. Each area has increased in visibility and quality
under the commitment of contract faculty. Our program fully deserves to replace our retirement faculty
member to help us continue to provide the best opportunities to our great students. We are seeking a
vocal/choral/music technology position to maintain the contract commitment that is so necessary for our
program.
2. Explanation of the need for the position and why it is critical to the program and the college.
With the retirement of the Program Chair, the voice classes will lose their contract leadership. We will have
only one contract position in the choral/vocal areas. We need another contract faculty member to help in the
complicated coordination of running the vocal component of our program, and contribute to the choral
program. Scheduling, recruitment, high school outreach, etc. can only be accomplished by full time
committed faculty.
(Currently, the instrumental side of the house has four contract positions directing performance
ensembles. Full time commitment and expertise in our instrumental program has created growth and
maintained excellence in every area. For example, we now have 2 levels of Band,
Jazz Band, and Orchestra and also offer Combos, Latin Ensemble, Piano Ensemble, Guitar Ensemble,
Percussion Ensemble and Chamber Ensembles. The students have better access to performing
opportunities, due to the leadership, innovation, expertise and follow through provided by our contract
instrumental faculty. )
Also, the Music Lab should continue to be coordinated by a contract faculty member (also part of outgoing
Program Chair’s assignment.) With the increase in the depth and scope of the music technology program, an
instructor with this expertise is now needed to run the Music Lab.
Presently, music technology is a part of any music degree, so we are confident that we can find a person
with expertise and teaching experience in both areas.
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APPENDIX VII: SLO Results
Based erroneously upon the CORE 4, here is the summary of our rationale for SLO’s from
2006-11:
The study of music is a complex, life-long program of skill building, language reading, aesthetic appreciation, aural
interpretation, communication and the development of a diverse cultural awareness. The department agreed that
many elements of all four Core Competencies apply interchangeably to our courses, and we will be working to
incorporate these into our Course Outlines.
Core Competency #1: GLOBAL AWARENESS
B. Social Diversity and Civics; C. Artistic Variety
Music is an international language that is inherently a part of our global culture, bridging the concepts of scientific
method and empirical method. Course work is designed to incorporate world culture into skill-building and
methodology leading to hands-on creative endeavors. Our music courses are designed to serve our socially diverse
community of age, ethnicity, and experience levels and goals. Music is a product of social and historical moments,
while at the same time, a process of creativity. The department is committed to teaching the making of music as
well as the appreciation of the vast diversity and aesthetic of music in our world
Core Competency #2: COMMUNICATION
Communication A. Read; B Write; C. Listen; D Speak/Converse
The department teaches the language of musical notation, from which music from every corner of the world can be
written and read by musicians. Musicians analyze, perform and appreciate the literature of a country, an era, a style.
Musicians more clearly communicate with each other through this universal notation. We listen, receive, attend,
interpret, respond to musical sound and turn it into notation. Another aspect of communication is through the
increased reliance on technology now a standard course of study for traditional and electronic music.
Core Competency#3: CRITICAL THINKING
The study of music is one of the best disciplines to involve critical thinking. Students must learn written and aural
concepts of the musical language, and use these to appreciate, analyze, compose and perform music. This
synthesizes the creative self with the mechanical self through the making and evaluation of music. The study of
music requires students to integrate technical, aural, physical, interpretive, aesthetic and creative acuities in order to
produce a musically artistic outcome. This synthesis of facts, such as skill level/theory knowledge, and opinions,
such as stylistic, cultural, historical or interpretive values, is the constant demonstration of critical thinking
demonstrated by music makers and listeners.
Core Competency#4: PERSONAL RESPONSIBILITY/PROFESSIONAL DEVELOPMENT
Students who actively participate in classes and ensembles build their skills and assimilate knowledge and
experience in a motivated, accelerated way. To this end, it is vital that students are responsible to attend every class
and rehearsal. When students are not fully committed, the sense of team work is greatly jeopardized, resulting is a
group’s decreased ability to attain musical artistry through balance, timbre, phrasing, etc. Due to the collaborative
nature of music, and the fact that each performance exists in the moment, students can readily see the critical
connection of their full commitment and dedication to the study of music. It is a very rewarding, often exhilarating
pursuit, and promotes many positive outcomes to the students, to the craft, to the art and to the listeners.
RESULTS:
Through Spring 2009, the primary need to improve learning was a new facility, which came on
board in Fall 2009. We have found that students are well able to demonstrate what they learn
through written exams and papers as well as through stage performance. We were surprised that
the diverse course work assignments yielded common outcomes. We were happy that students
understand and readily appreciate the high level of musicality that they are learning to produce.
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With the advent of moving to our new facility, the SLO process pointed to the fact that we need a
more inclusive environment for students. To that end, we re-implemented the 1980’s idea of
having a First Friday general meeting for Music Majors in Theory and Musicianship. It has
proven to provide a great jump start for the semester: students feel more a part of the community,
and learn how to receive support in their studies. All contract faculty discuss their programs and
we pass out a Student Handbook with transfer information, suggested programs of study and
other helpful information.
Other things we learned that we still need to address include:
a. Stronger commitment to Applied Music component for Music Majors/minors.
b. Increase Music Technology program. ( this has begun with MTRA)
c. More repetition and drill.
d. More small group practice.( much easier to accomplish with 15 practice rooms!)
e. Up-to-date hardware and software.
f. Revise Student Scholarship process to include incoming, departing students, as well as
returning students.
g. More organized scheduling of events, so that students may participate in several groups
each semester.
h. More organized, consistent publicity.
i. More outreach and recruitment among our own classes each semester.
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APPENDIXVIII:Assessment Analysis Forms (2006-2011)
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56
Revised March 26, 2013
57
Revised March 26, 2013
58
Revised March 26, 2013
59
Revised March 26, 2013
60
Revised March 26, 2013
61
Revised March 26, 2013
62
Revised March 26, 2013
63
Revised March 26, 2013
64
Revised March 26, 2013
65
Revised March 26, 2013
66
Revised March 26, 2013
67
Revised March 26, 2013
68
Revised March 26, 2013
69
Revised March 26, 2013
70
Revised March 26, 2013
71