U NDERGRADUATE S TUDENT H ANDBOOK
2009 - 2010
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TABLE OF CONTENTS
Welcome
Faculty
Facilities and Procedures
Hours
Facilities
Lockers
Instrument Check Out
Applied Lesson Fee
Accompanists
Duplicating/Printing
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Ensembles and Organizations
Ensembles
Ensemble Participation
Organizations
Academic Information
Advising
Applied Lessons
Applied Instructors
Placement
Studio Class/Showcase Recitals
Degree Options
Bachelor of Music in Music Education
Bachelor of Music in Music Therapy
Bachelor of Music in Performance
Bachelor of Arts in Music
Minor in Music
UND U-Mail/Email Account
Music Theory and Aural Skills Exams
Keyboard Proficiencies
Performance Juries
Scholarships
Requirements to Maintain a Music Scholarship
Concert Attendance and Concert Critiques
Guidelines
Recitals
Recital Jury
Recital Hall Use
Programs
Optional Recitals
Accompanists
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Recording
Receptions
Note Regarding Placement Exams and Auditions.............................................
Academic Materials
Student Progress Benchmarks
Entry-Level Evaluation
Sophomore Review
Upperclass Student Benchmarks
Exit Review
Keyboard Skills Proficiency Requirements
Applied Music Placement Auditions
Music Theory Diagnostic Examination
Degree Recital Audition Procedure
Appendix
Concert Critique Form
Degree Recital Audition Form
Music Department Academic Grievance Policy
Music Courses in Biennial Rotation
Music Degree Status Sheets
Bachelor of Music in Music Education (Choral)
Bachelor of Music in Music Education (Instrumental)
Bachelor of Music in Music Therapy
Bachelor of Music in Performance (Vocal)
Bachelor of Music in Performance (Instrumental)
Bachelor of Music in Performance (Keyboard)
Bachelor of Arts in Music
Minor in Music
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WELCOME...
...to the University of North Dakota Department of Music! We offer a wide
array of musical opportunities and experiences for our students, the
university community, and a growing audience for the arts throughout the
region. Our music graduates enjoy outstanding professional success in
teaching, therapy and performance. We strive to provide our students
with the highest quality musical and educational experiences possible.
Please read this document carefully, and keep it for reference. Students
should also consult the UND Department of Music website,
www.undmusic.org on a regular basis for additional information, as well as
updated procedures and forms.
The University of North Dakota Department of Music is fully accredited by
the National Association of Schools of Music.
Michael Wittgraf
Chair, UND Department of Music
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FACULTY AND STAFF
Whitney Berry
Music Theory
HFAC 272, 777-4716
Royce Blackburn
Coordinator of Vocal Studies, Opera
HFAC 212, 777-2837
Michael Blake
Percussion, Jazz Studies
HFAC 168, 777-2819
Sharon Boschee
Flute
HFAC 252, 777-4387
Karen Braaten
Accompanist
701-303-0441
Joshua Bronfman
Director of Choral Activities
HFAC 122, 777-2814
Robert Brooks
Associate Director of Bands
HFAC 158, 777-4396
Valdin Buchmeier
Double Bass
HFAC 110, 777-2644
Anne Christopherson
On leave 2009-2010
Voice, Opera
HFAC 224, 777-2835
Felecia Clifton
Music Library Manager
HFAC 170, 777-2817
Therese Costes
On leave 2009-2010
Music Therapy
HFAC 228, 777-2828
Alejandro Drago
Director of Orchestra, Strings
HFAC 208, 777-2509
Christopher Gable
Music Theory, Composition
HFAC 162, 777-6190
David Henrickson
Staff Accompanist
HFAC 160, 777-2818
Janice Hoffarth
Administrative Assistant
HFAC 114, 777-2646
Ronnie Ingle
Trumpet, Jazz Ensemble
HFAC 130, 777-2816
Dorothy Keyser
Music History
HFAC 280, 777-2838
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Andrew Knight
Music Therapy
HFAC 268, 777-2836
Barbara Lewis
Music Education
HFAC 262, 777-2820
Tammy Mulske
Technology & Marketing Supervisor
HFAC 110, 777-2644
Katherine Norman-Dearden
Music Education
HFAC 216, 777-2827
Louise Pinkerton
Voice
HFAC 144, 777-4095
James Popejoy
Director of Bands
HFAC 126, 777-2815
Joel Pugh
Trombone, Euphonium, Tuba
HFAC 146, 777-2718
Elizabeth Rheude
Woodwinds
HFAC 264, 777-2823
Pete Schiefelbein
Horn
HFAC 146, 777-2718
Grace St. Pierre
Associate Director of Choirs, Voice
HFAC 224, 777-2835
Matthew Strand
Electric Bass
HFAC 110, 777-2644
Susan Tang
Piano
HFAC 204, 777-2839
Gary Towne
Musicology
HFAC 276, 777-2826
Emily Wangen
Music Therapy Practica
HFAC 101, 777-0485
Naomi Welsh
Violoncello
HFAC 166, 777-3359
Michael Wittgraf
Department Chair, Music Theory,
Composition, Technology
HFAC 272, 777-4716
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FACILITIES
AND
PROCEDURES
The Department of Music, housed in the Edmond A. Hughes Fine Arts
Center (HFAC), has complete and modern facilities for advanced
education in music. Major instructional features of the music wing include
practice rooms, choral and instrumental ensemble rehearsal halls,
classrooms, keyboard and music technology laboratories, a music library
and student lockers. Constructed in 1974, HFAC also has faculty facilities,
including administrative offices and private lesson studios.
Two main concert halls are available for use by the Department of Music.
The Josephine Campbell Recital Hall, located in the Hughes Fine Arts
Center, is a 200-seat, acoustically tuned facility with professional lighting
and sound systems. The other main hall is the nearby 2,300-seat Chester
Fritz Auditorium, regarded as one of the finest performance facilities in the
Upper Midwest.
HOURS
Music Department Office
Monday to Friday
8:30 am – 4:30 pm
Practice Facilities (Building Open)
Academic Year
Monday to Saturday
7:00 am – 11:00 pm
Sunday
10:00 am – 11:00 pm
Academic Year (Vacation)
Monday to Friday
8:00 am – 5:00 pm
Saturday
9:00 am – 4:00 pm
Sunday
Closed
Summer Hours
Monday to Friday
8:00 am – 5:00 pm
Saturday to Sunday
Closed
FACILITIES
Practice Rooms
Numerous practice rooms are available to students on both the first
and second floors of Hughes Fine Arts Center. No sign-up procedure
is necessary; students may use any room that is vacant. No food or
beverages are permitted in the practice rooms or on any piano.
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Music Library
The Gordon Erickson Music Library (HFAC 170) houses recordings,
scores, reference materials, and selected books pertaining to music.
Additional music books are housed on the third floor in the Chester
Fritz Library. Music listening facilities and internet access are available
in the Music Library. Recordings and reference sources are not
available for check out, but may be used in the Music Library. Check
the door of the Music Library for the hours of operation. No food or
beverages are permitted in the Music Library.
Computer Laboratory
HFAC 256 contains computers, synthesizers, sequencers, printers,
and software programs, all available for student and faculty use.
Technology is viewed as an important part of musical training, and is
fully integrated into the curriculum.
MuSoUND Lounge
Located on the second floor near the elevator, the lounge is available
for student use, and includes a refrigerator and a microwave oven.
Also, there are couches, tables, and chairs for eating, meeting,
studying or just relaxing. Vending machines are available on the first
floor below the lounge.
NOTE: The facilities within the Hughes Fine Arts Center are available to
music faculty, music students, and department ensembles. Students not
enrolled in music classes or ensembles may utilize the listening and
practice facilities as available, however non-department organizations may
not use the rehearsal facilities except with prior permission of the
Department Chair.
LOCKERS
Lockers for instruments, books, and music are available in the hallway
outside HFAC 128 and HFAC 152, as well as the second floor. These
may be checked out through the Band Office (HFAC 128A) during the
first week of each semester. Locker assignments will be based on
instrument size. Students provide their own combination locks and
combinations must be filed with the Band Office. Key locks are not
permitted.
Although security is not usually a problem, instruments have vanished
from unlocked lockers. Please keep your locker locked at all times,
particularly if you store a UND instrument there.
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INSTRUMENT CHECK OUT
Instruments are available for check out to students in department
ensembles and those enrolled in individual or class lessons. Contact Dr.
James Popejoy (HFAC 126), Mr. Robert Brooks (HFAC 158), or their
Graduate Teaching Assistant (HFAC 128A), for specific information.
Students will be billed $35 per semester to cover part of the maintenance
expense of the instruments.
APPLIED LESSON FEE
Applied study in music is partially subsidized by individual students
beyond tuition. At UND, as at most other institutions, there is an applied
lesson fee ($125 per semester) for each applied registration. This fee
helps defray the high cost of individual study at the university.
ACCOMPANISTS
Private lessons, voice classes, and juries often require the assistance of
an accompanist. Students should make arrangements to contract with an
accompanist early in the semester by consulting with their applied
professor for recommended names. These accompanists typically require
payment on a per-semester basis (covering weekly lessons and
rehearsals), with additional costs for recitals, off-campus events, and other
special needs.
DUPLICATING/PRINTING
Students may use the photocopy machine in the Music Library for a
modest per-page charge (subject to legal copyright restrictions). The
Computer Lab has printers available for student use. More information is
available in the two facilities.
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ENSEMBLES AND ORGANIZATIONS
ENSEMBLES
Numerous performance ensembles are available to all UND students. It is
not necessary to be a music major in order to participate in an ensemble,
and credit for participation often applies to the UND Arts and Humanities
general education requirements. Auditions for ensembles generally occur
during the first week of classes in the Fall Semester. Additional
information can be found on the bulletin boards or ensemble director office
doors.
Concert Choir (MUSC 260) ............................................ Joshua Bronfman
Chamber Choir (MUSC 261) .......................................... Joshua Bronfman
Varsity Bards Men’s Chorus (MUSC 263) ...................... Joshua Bronfman
Allegro Women's Chorus (MUSC 264) ........................... Grace St. Pierre
Opera Workshop (MUSC 269) ....................................... Royce Blackburn
Wind Ensemble (MUSC 270) ......................................... James Popejoy
University Band (MUSC 271) ......................................... James Popejoy
“Pride of the North” Hockey Band (MUSC 272).............. Robert Brooks
“Pride of the North” Marching Band (MUSC 272)........... Robert Brooks
“Pride of the North” Basketball Band (MUSC 272) ......... Robert Brooks
12:00 Jazz Ensemble (MUSC 273) ................................ Ronnie Ingle
1:00 Jazz Ensemble (MUSC 273) .................................. Robert Brooks
Chamber Orchestra (MUSC 275) ................................... Alejandro Drago
Collegium Musicum (MUSC 276) ................................... Gary Towne
Goliards (MUSC 277) ..................................................... Joshua Bronfman
Guitar Ensemble (MUSC 277)........................................ Kris Eylands
Jazz Combos (MUSC 277)............................................. Michael Blake
Steel Band/Percussion Ensemble (MUSC 277) ............. Michael Blake
Trumpet Ensemble (MUSC 277) .................................... Ronnie Ingle
Vivo (MUSC 277)............................................................ Grace St. Pierre
Ensemble Participation
Students enrolled in the Bachelor of Music or Bachelor of Arts degrees are
required to participate in a major ensemble in their area of emphasis as
part of their program of study. Normally, students in the Bachelor of Music
participate in an ensemble each semester of residence except for student
teaching or internship. Music Education majors are required to complete a
minimum of seven semesters (not semester hours) in a major performing
ensemble.
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ORGANIZATIONS
MuSoUND (Music Students of UND)
MuSoUND is a student-run organization for all music students,
including majors, minors, and members of performing ensembles.
Activities include guest speaker programs, mentorship and tutoring by
upperclass students, referral service for student performers, and social
events. MuSoUND also furnishes an important communications link
between faculty and students in department governance. Professor
Michael Blake is the MuSoUND faculty advisor.
Collegiate Music Educators National Conference (CMENC)
The UND collegiate chapter of MENC provides information, resources,
and services for potential music educators.
Although intended
primarily for students pursuing a career in music education, the
organization is open to all interested students. By becoming a member
of CMENC, students receive professional publications as well as
attend local, regional and national conferences and workshops. Dr.
James Popejoy is the CMENC faculty advisor.
American Choral Directors' Association
ACDA is the professional organization for choral musicians and choral
music educators in the United States. Members attend local, regional
and national conferences, and participate in enrichment activities with
future and current choral conductors. Professor Joshua Bronfman is
the ACDA faculty advisor for the UND student chapter.
Sigma Alpha Iota
Sigma Alpha Iota is a professional women’s music fraternity with
chapters on campuses around the nation. Membership is open to both
music majors and non-majors, by invitation only. Louise Pinkerton is
the SAI faculty advisor.
Pi Kappa Lambda
Since 2003, the UND Department of Music has hosted a chapter of the
National Music Honor Society, Pi Kappa Lambda. Eligible junior and
senior music majors are selected for membership in this prestigious
organization by the music faculty. Elections are held each spring, with
initiation at the annual awards ceremony.
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ACADEMIC INFORMATION
ADVISING
Academic advising is an integral part of successful completion of a music
degree. Although responsibility for timely enrollment in the correct courses
ultimately rests with the student, consultation with an advisor can facilitate
this process.
Advisors
The primary role of an advisor is to assist the student in planning their
course of study. All music majors will be assigned a music faculty advisor.
This will ensure that students are informed about course rotations and
graduation requirements. Every effort will be made to assign each student
an advisor in his or her primary field(s) of study. Consulting with other
faculty members is encouraged, however students should confer with their
assigned music faculty advisor at least once per semester.
APPLIED LESSONS
All music majors must take applied (i.e. private) lessons on their major
instrument (including voice). The number of credit hours of applied
instruction varies with each degree plan. The student should begin taking
applied lessons during their first semester as a music major.
Applied Instructors 2009-2010
Bassoon
Clarinet
Double Bass
Electric Bass
Euphonium
Flute
Guitar
Horn
Oboe
Percussion
Piano
Michael Wittgraf
Elizabeth Rheude
Valdin Buchmeier
Matthew Strand
Joel Pugh
Sharon Boschee
Kris Eylands
Peter Schiefelbein
Elizabeth Rheude
Michael Blake
Susan Tang
Saxophone
Trombone
Trumpet
Tuba
Viola
Violin
Violoncello
Voice
Voice
Voice
Elizabeth Rheude
Joel Pugh
Ronnie Ingle
Joel Pugh
Alejandro Drago
Alejandro Drago
Naomi Welsh
Royce Blackburn
Louise Pinkerton
Grace St. Pierre
Placement
In order to register for applied lessons, the student must first audition for
placement during the first week of classes. Auditions for new students are
normally held during the Department of Music Freshman Orientation Day.
For audition requirements see “Applied Music Placement Auditions” at the
back of the handbook.
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Studio Class/Showcase Recitals
All students taking applied lessons are required to be available on
Thursdays from 2:00-2:50 to attend either studio class or the Music
Department Showcase Recitals (on a rotating basis). As some studio
classes are held at other times, students should consult their applied
instructor for specific information concerning their studio commitments.
DEGREE OPTIONS
Undergraduate students wishing to major in music may choose from four
degree options:
Bachelor of Music in Music Education
This degree prepares the student for a career as an elementary and
secondary (K-12) school educator in choral or instrumental music.
Students may also pursue dual certification with both choral and
instrumental emphases.
Bachelor of Music in Music Therapy
This degree includes practical experience in a variety of community
settings and is designed to produce skilled music therapists who will
meet the requirements of the American Music Therapy Association.
Bachelor of Music in Performance
This degree is designed for the student who would like to pursue a
career in music performance. Students must audition for the
appropriate faculty members prior to acceptance as a performance
major.
Bachelor of Arts in Music
This degree allows a student to pursue the study of music within a
liberal arts framework. BA students frequently declare an area of
specialization within their major (e.g. applied study, composition,
history, theory, etc.), and complete the same core courses as other
music degree students.
Music Degree Status Sheets are included the Appendix of this handbook.
MUSIC MINOR
There are two Music Minors available. Non-music majors enrolled in any
program leading to teacher licensure/certification, and pursuing a music
minor, must enroll in the Minor in Music for educators offered through the
College of Education and Human Development (EHD). Students in other
majors may enroll in the music minor offered through the College of Arts
and Sciences.
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UND U-MAIL/EMAIL ACCOUNT
All enrolled students will receive a U-Mail account from the university. You
must check your U-Mail account on a regular basis, as this will be the
primary means of communication between the Department of Music and
students. This is particularly important during the weeks surrounding the
beginning and end of each semester.
MUSIC THEORY AND AURAL SKILLS EXAMS
All students who register for the first year of the Music Theory and Aural
Skills sequence should be familiar with basic musical concepts, and
possess rudimentary skills in ear training and sight-singing. A Music
Theory diagnostic examination will be administered during the first week of
classes. See p. 24 for further details.
All transfer students are tested in Music Theory and Aural Skills,
regardless of coursework that has transferred to UND. These placement
exams are administered during orientation day in the fall, or by
appointment.
Call the music office at 777-2644 to schedule an
appointment if necessary.
KEYBOARD PROFICIENCIES
All music students are expected to have practical skills at the keyboard.
Bachelor of Music students must pass all levels of keyboard proficiencies,
and Bachelor of Arts students must achieve the second level. All
proficiencies must be completed prior to student teaching or music therapy
internship. Piano principals should consult with their applied instructor
concerning specific requirements for their degree.
Performance, Education, and Therapy Majors
Students must demonstrate four levels of piano proficiency. Most
students meet these requirements by taking keyboard skills courses for
four semesters (MUSC 133, 136, 233, 236).
BA in Music
Students must demonstrate two levels of piano proficiency. This may
be done by successful completion of Keyboard Skills I and II (MUSC
133 and MUSC 136).
Note: Piano principals and students with exceptionally strong
backgrounds in piano may substitute individual piano lessons and a
series of proficiency tests for required for Keyboard Skills courses. See
the Keyboard Skill Proficiency Requirements located at the back of this
handbook for additional information. Admission to individual piano
lessons is only by audition and recommendation by the keyboard
faculty.
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PERFORMANCE JURIES
Performance Juries (applied lesson final exams) are held at the end of the
Fall and Spring semesters. Juries provide assessment of musical
concepts and materials studied in applied lessons each semester. Your
applied instructor will provide specific details.
SCHOLARSHIPS
A number of music scholarships are awarded yearly to music majors and
participants in ensembles, primarily on the basis of talent. For detailed
audition information please see the Department of Music website at
www.undmusic.org.
Requirements to Maintain a Music Scholarship
All students who receive a music scholarship must maintain the
following conditions:
• Be enrolled as a full time student (at least 12 credit hours).
• Be enrolled in a major ensemble, as assigned by the
appropriate faculty.
• Maintain appropriate grade point average, as outlined in your
Music Scholarship acceptance letter.
• Complete Scholarship Reapplication Form each spring.
Additionally requirements for students receiving a music major
scholarship:
• Remain a music major and be enrolled in the proper sequence
of coursework required for your degree and major instrument,
as well as show progress toward the timely completion of the
degree.
• Maintain a minimum overall GPA of 3.0, with a GPA of no less
than 3.25 in all music coursework.
Continuation of the award is based upon satisfactory review by the
scholarship committee concerning the student’s adherence to the above
criteria.
CONCERT ATTENDANCE AND CONCERT CRITIQUES
All undergraduate students enrolled in applied lessons will be required to
attend and critique 10 concerts per semester (excluding summer). To
receive credit for recital attendance, students must complete a Concert
Critique Form for each event attended, which is then submitted to their
major applied instructor. Students who are taking applied lessons on more
than one instrument need only complete this requirement for their primary
instrument. Students who fail to meet this obligation will have their major
applied lesson grade lowered by one letter grade.
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Guidelines for Recital Attendance and Concert Critiques
• Only classical, world, jazz and musical theatre concerts/events will
be accepted.
• Showcase, studio, and performance class recitals will not be
accepted.
• Shared concerts (where two ensembles perform on a single
concert) will be accepted for those students performing in half of
the concert.
• Secondary school concerts/musicals will be accepted.
• All students will use the same Concert Critique Form.
• Students who fail to meet the requirement of 10 concerts per
semester will have their applied lesson mark lowered by one letter
grade.
RECITALS
The ability to perform is an important component of all degree programs
within the Department of Music. Music Education students must present a
half recital during the junior or senior year, while Music Performance
majors must present a half recital in the junior year and a full recital during
the senior year.
Recital Jury
Prior to the presentation of a recital, students must perform a prerecital jury, which may include all works scheduled for performance on
the recital. This jury should be scheduled no less than three weeks in
advance of the recital. The student is responsible for the formation of a
jury committee, with the approval of their applied instructor. The
student is also responsible for preparing a concert program, a draft of
which must be provided at the student’s jury. Recital audition
procedures and policies are explained in greater detail in the back of
this handbook.
Recital Hall Use
The Josephine Campbell Recital Hall (JCRH) is used for most student
recitals. Students should contact the Music Office to reserve this facility
for juries, dress rehearsals, and recitals. Although there is no deadline
for reserving hall use, space is often limited and therefore it would be
wise to do so in a timely manner.
Programs
Programs for student recitals must be turned into the music office no
less than three weeks prior to the recital. The student’s jury committee
must approve all programs before they can be printed. Information
must be submitted electronically, either in the body of an email or as a
Word (.doc) document. Only complete programs will be accepted. Final
revisions must be completed no less than one week prior to the recital.
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Optional Recitals
BA students may elect to present a recital as part of their senior
project. Additionally, Therapy majors often present a recital as an
enrichment activity. Any student may elect to give a recital, however
the protocol outlined herein must be followed.
Accompanists
Accompanists are usually in short supply and high demand, so it is
crucial that they be engaged as soon as possible. Consult with your
applied instructor during the first week of the term for contact
information.
Recording
Recording of recitals is scheduled through the Music Office.
Receptions
Student performers often host a reception following their recital. These
receptions may be held in the Anna Mae Hughes Room adjacent to the
main lobby of the Hughes Fine Arts Center. Kitchen facilities are
available across the hall. All facilities must be reserved through the
Music Office. The student is responsible for all preparation, food,
beverages, and clean up.
NOTE REGARDING PLACEMENT EXAMS AND AUDITIONS
Classes and lessons out of which a student tests (or auditions) apply
toward music major requirements only. Such classes do not apply
toward graduation credit total requirements. Therefore, students
should meet with their advisors in order to find electives that will make
up the credit difference.
Students who test out of classes will likely need signed registration
action forms in order to register for classes into which they test. Test
results do not appear in the registrar’s office, so the system does not
recognize placement exam prerequisites.
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ACADEMIC MATERIALS
Although the following materials are as accurate as possible, the contents
are subject to change without notice. These documents are intended to
facilitate schedule and program of study planning, however they do not
substitute for regular consultations with academic advisors.
The following pages contain:
•
Student Progress Benchmarks
•
Keyboard Skills Proficiency Requirements
•
Applied Music Placement Information
•
Music Theory Placement Information
•
Degree Recital Audition Procedures
•
Concert Critique Guidelines
•
Concert Critique Form
•
Degree Recital Audition Form
STUDENT PROGRESS BENCHMARKS
Entry-Level Evaluation
Prior to acceptance as a music major, students must demonstrate their
performance skills and musical knowledge through an audition on their
major instrument and a theoretical skills placement examination. These
assessments normally occur in the fall during the first week of classes.
Contact the Music Office and your advisor for additional information.
Sophomore Review
The Sophomore Review is a Student Progress Benchmark used to
evaluate a student’s progress toward their chosen degree for the
purpose of student advisement and program assessment.
The Sophomore Review consists of two parts:
• Academic Evaluation: triggered by enrollment in the fourth
semester of the theory sequence.
• Performance Evaluation: triggered by enrollment in the fourth
semester of applied study (MUSC 254 or MUSC 255).
The Academic Evaluation is a review of all course work completed up
to the date of the review and is compiled by each student’s Advisor.
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•
Students pursuing a music degree must receive at least a grade
of C in every music course taken toward the degree. In
sequential music courses, a grade of C must be made in order
to progress to the next course in the sequence.
Successful completion of the performance evaluation is required of all
students to enroll in upper division applied lessons. The student will
prepare pieces, sight-reading, and scales, as appropriate. The
student’s applied instructor determines repertoire for the jury.
• Performance evaluations will take place on the Saturdays
following Reading and Review Day in a given semester.
• The adjudicating faculty may choose to ‘Pass’ or ‘Fail’ the
student’s performance.
• If a student fails the performance evaluation, they will enter a
probationary period, not to exceed two (2) semesters, during
which time they will enroll in MUSC 253. The applied instructor
will decide when the student is fit to re-attempt the performance
evaluation.
• When this probationary period has ended, the student will reattempt the performance evaluation.
• If a student fails the second attempt, the student may be
advised to pursue a different degree track.
Listed below are the general expectations for all music majors at the
time of their Sophomore Review. A successful review will show
adequate progress toward completion of the following criteria:
Harmony and Theory Sequence
• Successful completion of MUSC 130, 134, and 230
• Enrollment in MUSC 234
Aural Skills Sequence
• Successful completion of MUSC 131, 135, and 231
• Enrollment in MUSC 235
Keyboard Skills Sequence (or equivalent Proficiency Levels)
• Successful completion of MUSC 133, 136, and 233
• Enrollment in MUSC 236
• BA students need only complete MUSC 133 and 136
Applied Lesson (Major Instrument)
• Successful completion of two semesters of MUSC 154/155,
and one semester of MUSC 254/255
• Enrollment in second semester of MUSC 254/255
Major Ensemble
• Successful completion of three semesters in a major
ensemble
• Enrollment in a fourth semester of a major ensemble
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Music History
• Enrollment in, or completion of, at least one music history
course: MUSC 203, 310 or 311.
Upperclass Student Benchmarks
All music degrees culminate with one or more capstone experiences.
Performance
• Junior Recital (half recital)
• Senior Recital (full recital)
Education
• Senior Recital (half recital)
• Portfolio Review (through the Teaching and Learning
Department)
• Student Teaching
Therapy
• Completion of four levels of Practica
• Internship
BA in Music
• Senior Project
Note: All juniors are strongly encouraged to go to their college dean's
office for a degree audit.
Exit Review
Each student will participate in an exit review with the Chair of the
Music Department prior to conclusion of their degree plan.
KEYBOARD SKILLS PROFICIENCY REQUIREMENTS
All music majors at UND must demonstrate proficiency at the piano. This can be
fulfilled either through taking the Keyboard Skills courses and/or passing the
Keyboard Proficiency Exams. BA Music Majors are required to take two
semesters of Keyboard Skills (levels I and II), or pass levels I and II of the
Keyboard Proficiency Exam. BM majors (Performance, Therapy, and Music
Education) are required to take all four semesters of Keyboard Skills or pass all
four levels of the Keyboard Proficiency Exam. These requirements must be met
prior to graduation, or prior to registration for either Student Teaching or Music
Therapy internship. The music minor does not include a Keyboard Proficiency
requirement.
21
Students are encouraged to take any level(s) of the Keyboard Proficiency
Exam if they feel they have the skills to test out of any levels of Keyboard
Skills. Students may sign up to take any level of the Keyboard Proficiency
Exam during the first week of classes. New incoming students will also
have the opportunity to take the exam on the first Monday of the fall
semester during the New Music Major Orientation Day.
Students interested in taking the Keyboard Proficiency Exam should
contact Professor Tang (777-2839) directly to set up a time.
Below are the skills required to pass each level of Keyboard Proficiency.
Solo repertoire pieces, as well as recommended study examples, are
taken from Piano for the Developing Musician by Martha Hilley and Lynn
Freeman Olson, 6th edition (2006).
Keyboard Proficiency Level I (for entry into MUSC 136)
• Major scales in the keys of C, G, D, A, E, B, F#, and C#. Two
octaves, hands separate.
• Chord progression I - IV6/4 - I - V6 - I in the keys above.
• Sight-read an example in the grand staff after a few minutes of
study (examples: p. 66 & p. 89).
• Harmonize an 8-bar melody in a major key with primary chords (I,
IV, V, V7) after a few minutes study. Be able to play the melody in
the right hand with block chords in closest position in the left hand
using inversions where needed (examples: p. 93 bottom, p. 94-95).
• Transpose an 8-bar example in a major key to another major key
after a few minutes study (examples: p. 96 & p. 97).
• Perform one of the following: Solo Repertoire from Unit 4; “Allegro
in G” (p. 79); “Pomp” (p. 80); “Connections” (pp. 84-85).
Keyboard Proficiency Level II (for entry into MUSC 233)
• C, G, D, A, E, B, F#, and C# major scales and c, g, d, a, and e
harmonic minor scales, two octaves, hands together.
• Play all chords of the key (I, ii, iii, IV, V, vi, vii°) for the major keys
above.
• Play a major, minor, diminished, and dominant seventh chord on
any given note in root position.
• Chord progression i - iv6/4 - V6/5 - i in the minor keys of c, g, d, a,
and e.
• Sight-read an example in grand staff after a few minutes of study
(examples: p. 173, p. 174, p. 206 & p. 207).
• Harmonize a melody in the major or minor mode with primary and
secondary chords after a few minutes study. Be able to play the
melody in the right hand with various accompaniment styles
(blocked chords in closest position, waltz, broken chords) in the left
hand (examples: p. 177 bottom, p. 213 & p. 214).
22
•
•
•
Create a two-handed accompaniment to a melody in the major or
minor mode with primary and secondary chords after a few minutes
study (examples: p. 178, p. 179d & p. 213b).
Transpose an example after a few minutes study (examples: p. 179
bottom, p. 180, p. 215 & p. 216).
Perform “Little Invention in C minor” (p. 202) from Unit 8.
Keyboard Proficiency Level III (for entry into MUSC 236)
• C, G, D, A, E, B, F#, C#, Ab, and F major scales and c, g, d, a, e,
and f harmonic minor scales, two octaves, hands together.
• Chord progression ii6 - V7 - I in all major keys. (p. 239, #2)
• Sight-read a 3-part chorale example after a few minutes study
(examples: p. 296 bottom & p. 297).
• Sight-read 2 part examples that include an instrument not at
concert pitch (such as horn in F, trumpet in Bb), and examples in
alto clef (examples: pp. 266, 267, 276, 294, 295, 296 top, 303, 305
and 306 top).
• Harmonize a melody in the major or minor mode using primary,
secondary, and secondary dominant chords. Play the melody in
the right hand with either a waltz or broken chord left hand pattern
(examples: pp. 270-273 & pp. 299-302).
• Transpose an example in major or minor mode after a few minutes
study (examples: p. 274, p. 275 & p. 304).
• Perform one of the following Solo Repertoire from Unit 11: “Minuet”
(p. 314); “Dance Piece” (p. 316-317); “The Bass Man Walketh” (p.
316-317).
Keyboard Proficiency Level IV (fulfills all Keyboard Skills requirements)
• All major and harmonic minor scales, two octaves, hands together.
• Play major, minor, diminished seventh, and dominant seventh
chords, with their inversions, on any given note.
• Sight-read a chorale-style piano example in grand staff after a few
minutes study (examples: p. 330 & p. 360).
• Sight-read a 3-part and a 4-part chorale example after a few
minutes study (examples: p. 358 & p. 380).
• Sight-read examples in 2 and 3 parts that include an instrument not
at concert pitch, and examples with alto and tenor clef (examples:
p. 339, p. 357, p. 359, p. 364, p. 379 & p. 388).
• Harmonize a melody in the major or minor mode using primary,
secondary, secondary dominants, and borrowed chords using
various accompaniment styles such as closest position chords,
broken/arpeggiated chords, waltz, and two-handed (examples: pp.
361-363 & pp. 383-385).
• Transpose an example in major or minor mode after a few minutes
study (examples: p. 337, p. 338, p. 363 bottom, p. 365 & p. 386).
23
•
•
Perform one of the secondo parts (w/instructor playing primo part)
from Units 12 and 14: “Andantino con Grazia (p. 342); “Cortege” (p.
390-391).
Perform one of the following Solo Repertoire from Units 13 and 14:
“Bright Orange” (p. 372); “Etude” (p. 396); “Allegro” (p. 398).
APPLIED MUSIC PLACEMENT AUDITIONS
All new UND music majors are required to audition for applied lessons.
For this hearing, please prepare the following material:
Instrumental Auditions
Solos
General Guidelines for all Instrumentalists (one of the following)
• 2 contrasting solos (one technical, one lyrical) OR
• 1 solo with a contrasting etude OR
• 2 contrasting movements from the same solo, 5-6 minutes of
music.
• Percussionists should perform on two of the following:
timpani, snare and mallets.
Scales
Instrumentalists
• Play a chromatic scale, full length of the instrument.
• 2 major scales of the student's choice, at least 2 octaves in
length.
Piano
• One major and one minor, hands together, two octaves.
• Students will be allowed to play one scale of their choice.
Faculty will choose the other.
Sight Reading
Instrumentalists
• To be selected by the instructor.
Percussion
• Students may choose to sight read on snare, timpani or
mallets.
Vocal Auditions
Solos
One piece, from memory, any language.
Scales
One major scale (any key); one harmonic minor scale (any key).
Sight Reading
To be chosen by the instructor.
Tonal Memory
You will be asked to reproduce short melodic phrases.
24
MUSIC THEORY DIAGNOSTIC EXAMINATION
All incoming music majors should initially enroll in Music Theory I (MUSC
130) and Aural Skills I (MUSC 131). A placement examination will be
given at the first class meeting to test students’ knowledge of music
fundamentals. Students will be notified of the exam results at the second
class meeting.
Exams will be graded as either satisfactory or unsatisfactory. A
satisfactory grade allows the student to enter first semester music theory
and aural skills. An unsatisfactory grade requires that the student either
enroll in and pass Music Fundamentals (MUSC 101) with a grade of C or
better; or retake the entrance examination at the beginning of the following
academic year. If needed, enrollment adjustments will be made following
the results of the examination.
The examination addresses the following music fundamentals:
• Note identification in treble and bass clefs (up to three ledger lines
above and below each clef).
• Interval size identification (unisons, seconds, thirds, fourths, fifths,
sixths, sevenths, and octaves).
• Key signature identification (all major and minor key signatures).
• Rhythm.
To prepare for the examination you may wish to refer to Tonal Harmony
by Stefan Kostka and Dorothy Payne, fifth edition, the text used for Music
Theory I (MUSC 130). You may also consult any standard theory
textbook, or contact your local music instructor.
DEGREE RECITAL AUDITION PROCEDURE
The following procedures outline the requirements and protocols
necessary for the application, audition, and performance of either a half or
full degree recital. All required enrollment criteria must be met before the
student will be allowed to present a degree recital for audition.
•
For half and full recitals there are specific criteria for each area of
individual study. Students need to ask their applied instructor for
specific time and repertoire requirements for their recitals.
•
The student is responsible for the formation of a jury committee,
with the approval of their applied instructor. The committee will
consist of three faculty members, one of which must be the
student’s applied instructor.
•
The recital audition must be presented before the jury committee no
less than three weeks prior to the date of the recital. The student
should be prepared to perform the entire recital at the time of the
audition.
25
•
The student will provide three copies of the recital program to the
jury committee. A copy should also be provided to the music office
either in the body of an email or as a Word Document. The lack of
the recital program at the time of the degree recital jury will result in
an Unsatisfactory grade.
•
When arranging the recital audition, the student must schedule the
recital hall, or other appropriate venue, for the recital as well as for
any dress rehearsals. The student should also schedule any
reception activities and the like at the same time. All scheduling of
facilities is done through the Music Office.
•
Three grades may be assigned for the recital audition: Satisfactory,
Unsatisfactory, or Provisional. If the student receives a Satisfactory
grade, the recital may proceed according to schedule. If the
student receives an Unsatisfactory grade, the student must wait at
least until the following semester for re-approval. If the student
receives a Provisional grade, the student may re-audition the recital
one week after the initial audition at which time only a Satisfactory
or Unsatisfactory grade may be applied. The majority decision of
the jury committee will determine the final grade. In the event of
three grades being given, split among the panel, the grade will be
Provisional.
•
The criteria for assigning a Satisfactory grade are flexible. Qualities
such as technical proficiency, musicality, stage presence and
memorization are among the considerations for evaluating the
performance. The student should discuss all criteria with the
audition panel.
26
APPENDIX
•
Concert Critique Form
•
Degree Recital Audition Form
•
Department of Music Academic Grievance Policies
•
Music Courses in Biennial Rotation
•
Music Degree Status Sheets
27
UNIVERSITY OF NORTH DAKOTA
DEPARTMENT OF MUSIC
CONCERT CRITIQUE FORM
The purpose of this critique is to illustrate critical thinking skills and listening as applied to music
performance. Please confine all remarks to the space provided. Responses may be hand-written.
Name _______________________________
Major Applied Professor _______________________
1. Date of concert ___________________ Venue _________________________________________
2. Name of performer(s) and genre _____________________________________________________
3. Type of concert (circle one) classical
world
jazz
other ______________________________
4. Historical era(s): ____ pre-1600 ____Baroque ____Classical ____Romantic ____Modern
5. Please comment briefly on the following topics:
Program Content/Repertoire Summary _______________________________________________
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
Performer’s Interpretation _________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
Order and Pacing _______________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
6. This concert was / was not effective (circle one) because _________________________________
_________________________________________________________________________________
_________________________________________________________________________________
_________________________________________________________________________________
For all events please attach a program and a ticket stub (if available).
28
Degree Recital Audition Form
Date:
Recital Date:_
Name:
Full
Degree: Ed., Perf., or Ped.
Half
Level: Junior, Senior, or Master
Criteria for Evaluation
1-Superior
2-Excellent
3-Average
4-Poor
5-Unacceptable
Performance Factors:
1
2
3
4
5
Quality of Tone, Evenness of Scale, Ensemble (if appropriate).
Technique:
1
2
3
4
5
Flexibility, Articulation (diction-if appropriate), Accuracy of Pitch, Intonation.
Memorization:
1
2
3
4
5
Interpretation:
1
2
3
4
5
Rhythm, Tempo, Phrasing, Projection of Mood, Appropriateness to stylistic period.
Stage presence:
1
2
3
4
Performing with confidence, Communication with audience.
5
_____________________________________________________________________
Grade (check only one): A majority of faculty must give a Satisfactory grade for the
recital to be approved. Overall Comments and Suggestions on back.
Satisfactory:
Unsatisfactory:
Provisional:
Signed: ________________________________________________________
29
DEPARTMENT OF MUSIC ACADEMIC GRIEVANCE POLICIES
All procedures listed here are in accordance with the Code of Student Life,
Section 3-2. Unless a school or college has specified a shorter time, a
student must initiate a grievance within 120 calendar days from the
recording of the final grade (including an “Incomplete”) in the course in
which the grievance arose.
Undergraduate Student Grievance Procedures
1. These procedures are to begin with discussion between the student
grievant and the faculty member, committee, or administrator with
whom the student has a grievance. If the grievance is not resolved at
this stage, then the student may advance the grievance through the
procedures of the college or school in which the grievance originated.
(Code of Student Life)
2. In the Music Department, if the grievance is not resolved by discussion
with the faculty member, committee, or administrator with whom the
student has a grievance, the student may advance the grievance to the
Chair of the Music Department. Grievances must be presented in
writing to the Chair. This written statement should include:
a. A description of the grievance
b. How the individual is affected by it
c. The remedy that is sought
3. The Music Chair may facilitate a meeting between the student and
faculty member, in the presence of another appropriate administrator
or faculty member, if desired. If a resolution or plan of action is
achieved by such meeting, the content of the meeting shall be
recorded, in particular:
a. the date of the meeting
b. the terms of the agreement, including grade percentages, where
applicable
c. the signatures of all parties to the agreement.
4. If no resolution is achieved between the affected parties in this
meeting, the Chair should submit the grievance to a department
appeals committee. The Music Department’s Executive Committee will
serve as the next level of appeal, and the rules of paragraphs 2 & 3
regarding presentation of appeal and recording will apply.
5. Any party may appeal the departmental decision to the Arts &
Sciences Student Appeals Committee. Individuals wishing to bring
grievances to the A&S Committee should submit them in writing to the
Dean. The rules of paragraph 2 regarding presentation of appeal will
apply. This procedure is more fully described in “Academic Grievance
30
Procedures: College of Arts & Sciences,” available in the College
Office.
6. Grievances not resolved at the level of the academic unit may be
brought by any of the parties to the Student Academic Standards
Committee (Registrar's Office) within 30 calendar days of the final
decision of the academic unit (college/school). Grievances must be
presented in writing to the chair of the committee. This written
statement should describe the grievance, indicate how it affects the
individual or unit, and include the remedy sought from the committee.
Graduate Student Grievance Procedures
A graduate student’s appeal follows the procedures for graduate students
described in the UND Academic Catalog. The committee procedure
described above may serve as an advisory process for the department’s
Director of Graduate Studies or the Department Chair at the appropriate
stage of the process.
Adopted by Music Faculty October 4, 2005
MUSIC COURSES IN BIENNIAL ROTATION
Projected Schedule as of July, 2009
(Fall 2008)
(Spring 2009)
Fall 2009
Spring 2010
Fall 2010
Spring 2011
Fall 2011
Spring 2012
Fall 2012
Spring 2013
Fall 2013
Spring 2014
Counterpoint MUSC
Analysis of Musical Form
428/539 [by demand]
MUSC 427
Methods and Materials for
Secondary School Music
MUSC 441
Choral Conducting
MUSC 357, 561
Choral Methods
MUSC 445
Inst. & Choral Arranging
MUSC 423
Psychology of Music
MUSC 480
Instrumental Conducting
MUSC 358, 562
Instrumental Classroom
Methods
MUSC 446
Instrumental Literature
MUSC 417, 521
Popular and Classical
Musics of the World
MUSC 203
Jazz Pedagogy
MUSC 447
Applied Pedagogy:
Voice/Voc Ped I MUSC
444/551
Applied Pedagogy:
Keyboard/Key Ped I
MUSC 444/552
Music History Review
MUSC 505
Research in Music Ed
MUSC 598
Song Literature/Vocal
Literature
MUSC 415, 525
Diction for Singers
Diction for Singers
MUSC 242 [English/French] MUSC 242 [Italian/German]
Vocal Pedagogy II
MUSC 553
Keyboard Pedagogy II
MUSC 554
Piano/Keyboard Lit
MUSC 414, 523
Music History Persp
MUSC 508
Music Theory Review
MUSC 501
Music Theory Persp
MUSC 502
Psych. Foundations of
Music Learning
MUSC 503
Trends in Music Education Foundations of Music
MUSC 509
Education MUSC 507
It is recommended that students acquire an updated copy of this schedule every fall.
Page 31
Bachelor of Music in Music Education (Choral)
Revised 8/14/09
Page 1 of 2
B.M. Music Education (Instrumental)
Name: _________________________________
ID# __________________ Total Hours (125 required):__________
Upper Division Hours (36 required): ___________ Piano Prof. 1
Piano Prof. 2
Piano Prof. 3
Piano Prof. 4
Soph Review
Essential Studies Special Emphasis Courses:
____ Advanced Communication (A) ____ Global Diversity (G)
____ Quantitative Reasoning (Q)
____ United States Diversity (U)
____
____
____
____
____
Chair: _______________________________
Cred
Sem
Grade
Advisor: _________________________________
Course
Notes
9
3
3
3
Communication (6 credits writing & 3 credits Oral Communication)
Engl 110 College Composition I
Engl 120 College Comp II, or Engl 125 Tech & Bus Writing
Comm 110 Fundamentals of Public Speaking
9
*
*
*
Social Science (minimum 2 departments)
Musc 180 Intro to Music Therapy
T&L 252 Child Development
T&L 443 Multicultural Education
9
*
*
Arts & Humanities (minimum 2 depts and must include 3 credits Fine Arts & 3 credits Humanities)
Musc 203 Popular and Classical Musics of the World
Fulfills Special Emphasis: G
Musc 260-264, 270-277 Music Ensembles
3 credits total count toward ES
9
* indicates credits counted as part of required music degree coursework
Math/Science/Technology (minimum 2 departments and must include 4 credits lab science)
29
3
1
3
1
3
1
3
1
3
2
3
3
2
6
2
2
2
Core Music Courses
Musc
Musc
Musc
Musc
Musc
Musc
Musc
Musc
130
131
134
135
230
231
234
235
Music Theory I
Aural Skills I
Music Theory II
Aural Skills II
Music Theory III
Aural Skills III
Music Theory IV: Music Theory Since 1900
Aural Skills IV
Musc
Musc
Musc
Musc
Musc
203
256
310
311
340
Pop and Classical Musics of the World
Basic Conducting
Music History Survey I
Music History Survey II
Intro to Music Technology
Other Studies Beyond the Core
Musc 416 Choral Literature
Musc 423 Instrumental and Choral Arranging
Musc 427 Analysis of Musical Form
Page 32
Fulfills Special Emphasis: U
Counts as ES: Arts & Humanities
Bachelor of Music in Music Education (Choral)
Revised 8/14/09
Page 2 of 2
Cred
Sem
Grade
Course
23 Performance Courses in Music
Primary Instrument - Voice or Piano (7)
1
Musc 154 Individual Lessons
1
Musc 154 Individual Lessons
1
Musc 254 Individual Lessons
1
Musc 254 Individual Lessons
1
Musc 354 Individual Lessons
1
Musc 354 Individual Lessons
1
Musc 454 Individual Lessons
1
1
1
1
Secondary Instrument - Piano or Voice (4)
Musc 133 Keyboard Skills, Prof I, or Musc 154
Musc 136 Keyboard Skills, Prof II, or Musc 154
Musc 233 Keyboard Skills, Prof III, or Musc 254
Musc 236 Keyboard Skills, Prof IV, or Musc 254
1
1
1
1
1
1
1
Major Choral Ensembles (7)
Musc 2__
Musc 2__
Musc 2__
Musc 2__
Musc 2__
Musc 2__
Musc 2__
2
2
Conducting (4)
Musc 357 Choral Conducting
Musc 358 Instrumental Conducting
1
Recital (1)
Musc 459 Senior Recital
Counts as ES: Arts & Humanities
Counts as ES: Arts & Humanities
Counts as ES: Arts & Humanities
18
1
1
1
3
1
3
3
2
3
Music Education
28
3
3
Professional Education
T&L 252 Child Development
T&L 325 Exploring Teaching in Secondary Schools
Musc
Musc
Musc
Musc
Musc
Musc
Musc
Musc
Musc
140
140
150
180
242
440
441
444
445
Notes
Methods: Wdwinds, Brass, Strings, or Perc
Methods: Wdwinds, Brass, Strings, or Perc
Class Lessons - Guitar
Intro to Music Therapy
Diction for Singers
Methods & Materials for Elementary Music
Methods & Materials for Secondary Music
Applied Music Pedagogy (Voice)
Choral Methods
Counts toward Optional Inst Licensure
Counts as ES: Social Science
Concurrent w/ T&L 386
Concurrent w/ T&L 486
Counts as ES: Social Science
Completion of T&L 325 and admission to Teacher Education Program required to continue professional education sequence.
1
3
1
8
8
1
9
1
1
*
2
3
T&L
T&L
T&L
T&L
T&L
T&L
386
433
486
487
487
488
Field Experience
Multicultural Education
Field Experience
Student Teaching (Elementary)
Student Teaching (Secondary)
Senior Seminar
Optional Instrumental Licensure Track
Musc 140 Methods: Wdwinds, Brass, Strings, or Perc
Musc 270, 271, 274, 275 Large Instrumental Ens
Musc 357 Instrumental Conducting
Musc 417 Instrumental Literature
Musc 446 Instrumental Methods
Page 33
Concurrent w/ Musc 440
Concurrent w/ Musc 441
Concurrent w/ T&L 487
1 additional credit for a total of 3
Bachelor of Music in Music Education (Instrumental)
Revised 8/14/09
Page 1 of 2
Name: _________________________________
ID# __________________ Total Hours (125 required):__________
Upper Division Hours (36 required): ___________ Piano Prof. 1
Piano Prof. 2
Piano Prof. 3
Piano Prof. 4
Soph Review
Essential Studies Special Emphasis Courses:
____ Advanced Communication (A) ____ Global Diversity (G)
____ Quantitative Reasoning (Q)
____ United States Diversity (U)
____
____
____
____
____
Chair: _______________________________
Sem
Grade
Advisor: _________________________________
Course
Notes
9
3
3
3
Communication (6 credits writing & 3 credits Oral Communication)
Engl 110 College Composition I
Engl 120 College Comp II, or Engl 125 Tech & Bus Writing
Comm 110 Fundamentals of Public Speaking
9
*
*
*
Social Science (minimum 2 departments)
Musc 180 Intro to Music Therapy
T&L 252 Child Development
T&L 443 Multicultural Education
9
*
*
Arts & Humanities (minimum 2 depts and must include 3 credits Fine Arts & 3 credits Humanities)
Musc 203 Popular and Classical Musics of the World
Fulfills Special Emphasis: G
Musc 260-264, 270-277 Music Ensembles
3 credits total count toward ES
9
29
3
1
3
1
3
1
3
1
3
2
3
3
2
6
2
2
2
Fulfills Special Emphasis: U
* indicates credits counted as part of required music degree coursework
Math/Science/Technology (minimum 2 departments and must include 4 credits lab science)
Core Music Courses
Musc
Musc
Musc
Musc
Musc
Musc
Musc
Musc
130
131
134
135
230
231
234
235
Music Theory I
Aural Skills I
Music Theory II
Aural Skills II
Music Theory III
Aural Skills III
Music Theory IV: Music Theory Since 1900
Aural Skills IV
Musc
Musc
Musc
Musc
Musc
203
256
310
311
340
Pop and Classical Musics of the World
Basic Conducting
Music History Survey I
Music History Survey II
Intro to Music Technology
Other Studies Beyond the Core
Musc 417 Instrumental Literature
Musc 423 Instrumental and Choral Arranging
Musc 427 Analysis of Musical Form
Page 34
Counts as ES: Arts & Humanities
Bachelor of Music in Music Education (Instrumental)
Revised 8/14/09
Page 2 of 2
Cred
Sem
Grade
23 Performance Courses in Music
Primary Instrument (7)
1
Musc 154 Individual
1
Musc 154 Individual
1
Musc 254 Individual
1
Musc 254 Individual
1
Musc 354 Individual
1
Musc 354 Individual
1
Musc 454 Individual
1
1
1
1
Course
Notes
Lessons
Lessons
Lessons
Lessons
Lessons
Lessons
Lessons
Secondary Instrument - Piano (4)
Musc 133 Keyboard Skills,
Musc 136 Keyboard Skills,
Musc 233 Keyboard Skills,
Musc 236 Keyboard Skills,
Prof
Prof
Prof
Prof
I, or Musc 154
II, or Musc 154
III, or Musc 254
IV, or Musc 254
If piano is Primary Instrument, then select another applied area to fulfill Secondary Instrument requirement.
1
1
1
1
1
1
1
Major Instrumental Ensembles (7)
Musc 2__
Musc 2__
Musc 2__
Musc 2__
Musc 2__
Musc 2__
Musc 2__
2
2
Conducting (4)
Musc 357 Choral Conducting
Musc 358 Instrumental Conducting
1
18
1
1
1
1
1
1
3
3
3
3
28
3
3
Counts as ES: Arts & Humanities
Counts as ES: Arts & Humanities
Counts as ES: Arts & Humanities
Counts toward Optional Choral Licensure
Recital (1)
Musc 459 Senior Recital
Music Education
Musc
Musc
Musc
Musc
Musc
Musc
Musc
Musc
Musc
Musc
140
140
140
140
140
140
180
440
441
446
Methods: Wdwinds, Brass, Strings, or Perc
Methods: Wdwinds, Brass, Strings, or Perc
Methods: Wdwinds, Brass, Strings, or Perc
Methods: Wdwinds, Brass, Strings, or Perc
Methods: Wdwinds, Brass, Strings, or Perc
Methods: Voice
Intro to Music Therapy
Methods & Materials for Elementary Music
Methods & Materials for Secondary Music
Instrumental Classroom Methods & Materials
Professional Education
T&L 252 Child Development
T&L 325 Exploring Teaching in Secondary Schools
Counts toward Optional Choral Licensure
Counts as ES: Social Science
Concurrent w/ T&L 386
Concurrent w/ T&L 486
Counts as ES: Social Science
Completion of T&L 325 and admission to Teacher Education Program required to continue professional education sequence.
1
3
1
8
8
1
9
*
1
*
2
3
T&L
T&L
T&L
T&L
T&L
T&L
386
433
486
487
487
488
Field Experience
Multicultural Education
Field Experience
Student Teaching (Elementary)
Student Teaching (Secondary)
Senior Seminar
Optional Choral Licensure Track
Musc 140 Methods: Voice
Musc 260, 263, or 264 Large Choral Ens
Musc 357 Choral Conducting
Musc 416 Choral Literature
Musc 445 Choral Methods
Page 35
Concurrent w/ Musc 440
Concurrent w/ Musc 441
Concurrent w/ T&L 487
Bachelor of Music in Music Therapy
Revised 8/14/09
Page 1 of 2
B.M. Music Education (Instrumental)
Name: _________________________________
ID# __________________ Total Hours (125 required):__________
Upper Division Hours (36 required): ___________ Piano Prof. 1
Piano Prof. 2
Piano Prof. 3
Piano Prof. 4
Soph Review
Essential Studies Special Emphasis Courses:
____ Advanced Communication (A) ____ Global Diversity (G)
____ Quantitative Reasoning (Q)
____ United States Diversity (U)
____
____
____
____
____
Chair: _______________________________
Cred
Sem
Grade
Advisor: _________________________________
Course
Notes
9
3
3
3
Communication (6 credits writing & 3 credits Oral Communication)
Engl 110 College Composition I
Engl 120 College Comp II, or Engl 125 Tech & Bus Writing
Comm 110 Fundamentals of Public Speaking
9
*
*
*
Social Science (minimum 2 departments)
Musc 180 Intro to Music Therapy
Psyc 111 Intro to Psychology
Psyc 250 Developmental Psychology
9
*
*
Arts & Humanities (minimum 2 depts and must include 3 credits Fine Arts & 3 credits Humanities)
Musc 203 Popular and Classical Musics of the World
Fulfills Special Emphasis: G
Musc 260-264, 270-277 Music Ensembles
3 credits total count toward ES
9
*
* indicates credits counted as part of required music degree coursework
Math/Science/Technology (minimum 2 departments and must include 4 credits lab science)
Soc 326 Sociological Statistics
Fulfills Special Emphasis: Q
28
3
1
3
1
3
1
3
1
3
3
3
3
6
Core Music Courses
Musc
Musc
Musc
Musc
Musc
Musc
Musc
Musc
130
131
134
135
230
231
234
235
Music Theory I
Aural Skills I
Music Theory II
Aural Skills II
Music Theory III
Aural Skills III
Music Theory IV: Music Theory Since 1900
Aural Skills IV
Musc
Musc
Musc
Musc
203
310
311
490
Pop and Classical Musics of the World
Music History Survey I
Music History Survey II
Seminar in Music
Arts and Humanities Electives - Consult advisor
AMTA recommends Dance, Fine Arts, Theater, Visual Arts courses
Page 36
Counts as ES: Arts & Humanities
Fulfills Special Emphasis: A
Bachelor of Music in Music Therapy
Revised 8/14/09
Page 2 of 2
Cred
Sem
Grade
30 Supporting Courses in Music
Primary Instrument (8)
1
Musc 154 Individual
1
Musc 154 Individual
1
Musc 254 Individual
1
Musc 254 Individual
1
Musc 354 Individual
1
Musc 354 Individual
1
Musc 454 Individual
1
Musc 454 Individual
Course
Lessons
Lessons
Lessons
Lessons
Lessons
Lessons
Lessons
Lessons
1
1
1
1
Secondary Instrument (4)
Musc 133 Keyboard
Musc 136 Keyboard
Musc 233 Keyboard
Musc 236 Keyboard
1
1
1
1
1
1
Major Ensembles (6)
Musc 2__
Musc 2__
Musc 2__
Musc 2__
Musc 2__
Musc 2__
1
1
1
1
1
2
2
1
2
Other Music Courses (12)
Musc 140 Methods: Percussion
Musc 150 Class Lessons - Guitar
Musc 151 Class Lessons - Guitar
Musc 150 Class Lessons - Voice
Musc 151 Class Lessons - Voice
Musc 256 Basic Conducting
Musc 340 Intro to Music Technology
Musc 399 Special Topics: Jazz Improvisation
Musc 423 Instrumental and Choral Arranging
23
3
3
2
1
3
2
1
1
3
1
1-3
1-3
21
3
4
3
3
2
3
3
Notes
Skills,
Skills,
Skills,
Skills,
Prof
Prof
Prof
Prof
I, or Musc 154
II, or Musc 154
III, or Musc 254
IV, or Musc 254
Counts as ES: Arts & Humanities
Counts as ES: Arts & Humanities
Counts as ES: Arts & Humanities
Music Therapy
Musc
Musc
Musc
Musc
Musc
Musc
Musc
Musc
Musc
Musc
180
280
281
282
380
381
382
383
480
481
Introduction to Music Therapy
MT Theory and Methods I
Music Therapy Techniques I
Music Therapy Practicum I
MT Theory and Methods II
Music Therapy Techniques II
Music Therapy Practicum II
Music Therapy Practicum III
Psychological Foundations of Music Learning
Music Therapy Practicum IV
Musc 397 Coop. Placement in Music Therapy OR
Musc 497 Music Therapy Internship
Additional Required Courses
Psyc 111 Introduction to Psychology
Psyc 250 Developmental Psychology
Psyc 270 Abnormal Psychology
Anat 204 Anatomy for Paramedical Personnel
Anat 204L Anatomy for Paramedical Personnel
T&L 315 Education for Exceptional Children
Soc 326 Sociological Statistics
Page 37
Counts as ES: Social Science
Not to exceed a total of three credits
for either course.
Counts as ES: Social Science
Counts as ES: Social Science
Fulfills Special Emphasis: Q
Bachelor of Music in Performance (Vocal)
Revised 8/14/09
Page 1 of 2
B.M. Music Education (Instrumental)
Name: _________________________________
ID# __________________ Total Hours (125 required):__________
Upper Division Hours (36 required): ___________ Piano Prof. 1
Piano Prof. 2
Piano Prof. 3
Piano Prof. 4
Soph Review
Essential Studies Special Emphasis Courses:
____ Advanced Communication (A) ____ Global Diversity (G)
____ Quantitative Reasoning (Q)
____ United States Diversity (U)
____
____
____
____
____
Chair: _______________________________
Cred
Sem
Grade
Advisor: _________________________________
Course
Notes
9
3
3
3
Communication (6 credits writing & 3 credits Oral Communication)
Engl 110 College Composition I
Engl 120 College Comp II, or Engl 125 Tech & Bus Writing
Comm 110 Fundamentals of Public Speaking
9
Social Science (minimum 2 departments)
9
*
*
*
Arts & Humanities (minimum 2 depts and must include 3 credits Fine Arts & 3 credits Humanities)
Musc 203 Popular and Classical Musics of the World
Fulfills Special Emphasis: G
Musc 260-264, 270-277 Music Ensembles
3 credits total count toward ES
Fren 101 French I or Germ 101 German I
* indicates credits counted as part of required music degree coursework
Math/Science/Technology (minimum 2 departments and must include 4 credits lab science)
9
30
3
1
3
1
3
1
3
1
3
2
3
3
3
8
2
Core Music Courses
Musc
Musc
Musc
Musc
Musc
Musc
Musc
Musc
130
131
134
135
230
231
234
235
Music Theory I
Aural Skills I
Music Theory II
Aural Skills II
Music Theory III
Aural Skills III
Music Theory IV: Music Theory Since 1900
Aural Skills IV
Musc
Musc
Musc
Musc
Musc
203
256
310
311
490
Pop and Classical Musics of the World
Basic Conducting
Music History Survey I
Music History Survey II
Seminar in Music
Other Music History, Literature, Theory, Composition
Musc 415 Song Literature
Page 38
Counts as ES: Arts & Humanities
Fulfills Special Emphasis: A
Bachelor of Music in Performance (Vocal)
Revised 8/14/09
Page 2 of 2
Cred
Sem
Grade
46 Performance Courses in Music
Major Instrument (24)
2
Musc 155 Individual
2
Musc 155 Individual
2
Musc 255 Individual
2
Musc 255 Individual
4
Musc 355 Individual
4
Musc 355 Individual
4
Musc 455 Individual
4
Musc 455 Individual
Course
Lessons
Lessons
Lessons
Lessons
Lessons
Lessons
Lessons
Lessons
1
1
1
1
Secondary Instrument - Piano (4)
Musc 133 Keyboard Skills,
Musc 136 Keyboard Skills,
Musc 233 Keyboard Skills,
Musc 236 Keyboard Skills,
1
1
1
1
1
1
1
1
1
1
Ensembles - Large and Small (10)
Musc 2__
Musc 2__
Musc 2__
Musc 2__
Musc 2__
Musc 2__
Musc 2__
Musc 2__
Musc 2__
Musc 2__
2
1
1
2
1
1-2
Other Courses (8)
Musc 242
Musc 269
Musc 269
Musc 444
Notes
Prof
Prof
Prof
Prof
I, or Musc 154
II, or Musc 154
III, or Musc 254
IV, or Musc 254
Counts as ES: Arts & Humanities
Counts as ES: Arts & Humanities
Counts as ES: Arts & Humanities
Diction for Singers
Opera Workshop
Opera Workshop
Applied Music Pedagogy
Recitals (2-3)
Musc 359 Junior Recital
Musc 459 Senior Recital
8
4
4
Foreign Language
6
Electives in Disciplines other than the Major
Fren 101 French I or Germ 101 German I
Fren 102 French II or Germ 102 German II
Page 39
Counts as ES: Arts & Humanities
Bachelor of Music in Performance (Instrumental)
Revised 8/14/09
Page 1 of 2
B.M. Music Education (Instrumental)
Name: _________________________________
ID# __________________ Total Hours (125 required):__________
Upper Division Hours (36 required): ___________ Piano Prof. 1
Piano Prof. 2
Piano Prof. 3
Piano Prof. 4
Soph Review
Essential Studies Special Emphasis Courses:
____ Advanced Communication (A) ____ Global Diversity (G)
____ Quantitative Reasoning (Q)
____ United States Diversity (U)
____
____
____
____
____
Chair: _______________________________
Cred
Sem
Grade
Advisor: _________________________________
Course
Notes
9
3
3
3
Communication (6 credits writing & 3 credits Oral Communication)
Engl 110 College Composition I
Engl 120 College Comp II, or Engl 125 Tech & Bus Writing
Comm 110 Fundamentals of Public Speaking
9
Social Science (minimum 2 departments)
9
*
*
Arts & Humanities (minimum 2 depts and must include 3 credits Fine Arts & 3 credits Humanities)
Musc 203 Popular and Classical Musics of the World
Fulfills Special Emphasis: G
Musc 260-264, 270-277 Music Ensembles
3 credits total count toward ES
9
* indicates credits counted as part of required music degree coursework
Math/Science/Technology (minimum 2 departments and must include 4 credits lab science)
30
3
1
3
1
3
1
3
1
3
2
3
3
3
12
Core Music Courses
Musc
Musc
Musc
Musc
Musc
Musc
Musc
Musc
130
131
134
135
230
231
234
235
Music Theory I
Aural Skills I
Music Theory II
Aural Skills II
Music Theory III
Aural Skills III
Music Theory IV: Music Theory Since 1900
Aural Skills IV
Musc
Musc
Musc
Musc
Musc
203
256
310
311
490
Pop and Classical Musics of the World
Basic Conducting
Music History Survey I
Music History Survey II
Seminar in Music
Other Music History, Literature, Theory, Composition
Page 40
Counts as ES: Arts & Humanities
Fulfills Special Emphasis: A
Bachelor of Music in Performance (Instrumental)
Revised 8/14/09
Page 2 of 2
Cred
Sem
Grade
44 Performance Courses in Music
Major Instrument (24)
2
Musc 155 Individual
2
Musc 155 Individual
2
Musc 255 Individual
2
Musc 255 Individual
4
Musc 355 Individual
4
Musc 355 Individual
4
Musc 455 Individual
4
Musc 455 Individual
Course
Lessons
Lessons
Lessons
Lessons
Lessons
Lessons
Lessons
Lessons
1
1
1
1
Secondary Instrument - Piano (4)
Musc 133 Keyboard Skills,
Musc 136 Keyboard Skills,
Musc 233 Keyboard Skills,
Musc 236 Keyboard Skills,
1
1
1
1
1
1
1
1
1
1
1
1
Ensembles - Large and Small (12)
Musc 2__
Musc 2__
Musc 2__
Musc 2__
Musc 2__
Musc 2__
Musc 2__
Musc 2__
Musc 2__
Musc 2__
Musc 2__
Musc 2__
2
Other Courses (2)
Musc 444 Applied Music Pedagogy
1
1-2
9
Notes
Prof
Prof
Prof
Prof
I, or Musc 154
II, or Musc 154
III, or Musc 254
IV, or Musc 254
Counts as ES: Arts & Humanities
Counts as ES: Arts & Humanities
Counts as ES: Arts & Humanities
Recitals (2-3)
Musc 359 Junior Recital
Musc 459 Senior Recital
Electives in disciplines other than the Major
Page 41
Bachelor of Music in Performance (Keyboard)
Revised 8/14/09
Page 1 of 2
B.M. Music Education (Instrumental)
Name: _________________________________
ID# __________________ Total Hours (125 required):__________
Upper Division Hours (36 required): ___________ Piano Prof. 1
Piano Prof. 2
Piano Prof. 3
Piano Prof. 4
Soph Review
Essential Studies Special Emphasis Courses:
____ Advanced Communication (A) ____ Global Diversity (G)
____ Quantitative Reasoning (Q)
____ United States Diversity (U)
____
____
____
____
____
Chair: _______________________________
Cred
Sem
Grade
Advisor: _________________________________
Course
Notes
9
3
3
3
Communication (6 credits writing & 3 credits Oral Communication)
Engl 110 College Composition I
Engl 120 College Comp II, or Engl 125 Tech & Bus Writing
Comm 110 Fundamentals of Public Speaking
9
Social Science (minimum 2 departments)
9
*
*
Arts & Humanities (minimum 2 depts and must include 3 credits Fine Arts & 3 credits Humanities)
Musc 203 Popular and Classical Musics of the World
Fulfills Special Emphasis: G
Musc 260-264, 270-277 Music Ensembles
3 credits total count toward ES
9
* indicates credits counted as part of required music degree coursework
Math/Science/Technology (minimum 2 departments and must include 4 credits lab science)
30
3
1
3
1
3
1
3
1
3
2
3
3
3
12
3
Core Music Courses
Musc
Musc
Musc
Musc
Musc
Musc
Musc
Musc
130
131
134
135
230
231
234
235
Music Theory I
Aural Skills I
Music Theory II
Aural Skills II
Music Theory III
Aural Skills III
Music Theory IV: Music Theory Since 1900
Aural Skills IV
Musc
Musc
Musc
Musc
Musc
203
256
310
311
490
Pop and Classical Musics of the World
Basic Conducting
Music History Survey I
Music History Survey II
Seminar in Music
Other Music History, Literature, Theory, Composition
Musc 414 Piano Literature
Page 42
Counts as ES: Arts & Humanities
Fulfills Special Emphasis: A
Bachelor of Music in Performance (Keyboard)
Revised 8/14/09
Page 2 of 2
Cred
Sem
Grade
44 Performance Courses in Music
Major Instrument (24)
2
Musc 155 Individual
2
Musc 155 Individual
2
Musc 255 Individual
2
Musc 255 Individual
4
Musc 355 Individual
4
Musc 355 Individual
4
Musc 455 Individual
4
Musc 455 Individual
1
1
1
1
Course
Notes
Lessons
Lessons
Lessons
Lessons
Lessons
Lessons
Lessons
Lessons
Secondary Instrument (4)
Musc 154
Musc 154
Musc 254
Musc 254
Keyboard Majors must achieve Piano Proficiency IV through applied lessons and study a secondary instrument.
1
1
1
1
1
1
1
1
1
1
1
1
Ensembles - Large and Small (12)
Musc 2__
Musc 2__
Musc 2__
Musc 2__
Musc 2__
Musc 2__
Musc 2__
Musc 2__
Musc 2__
Musc 2__
Musc 2__
Musc 2__
2
Other Courses (2)
Musc 444 Applied Music Pedagogy
1
1-2
9
Counts as ES: Arts & Humanities
Counts as ES: Arts & Humanities
Counts as ES: Arts & Humanities
Recitals (2-3)
Musc 359 Junior Recital
Musc 459 Senior Recital
Electives in disciplines other than the Major
Page 43
Bachelor of Arts in Music
Revised 8/14/09
Page 1 of 2
B.M. Music Education (Instrumental)
Name: _________________________________
ID# __________________ Total Hours (125 required):__________
Upper Division Hours (36 required): ___________ Piano Prof. 1
Piano Prof. 2
Piano Prof. 3
Piano Prof. 4
Soph Review
Essential Studies Special Emphasis Courses:
____ Advanced Communication (A) ____ Global Diversity (G)
____ Quantitative Reasoning (Q)
____ United States Diversity (U)
____
____
n/a
n/a
____
Chair: _______________________________
Cred
Sem
Grade
Advisor: _________________________________
Course
Notes
9
3
3
3
Communication (6 credits writing & 3 credits Oral Communication)
Engl 110 College Composition I
Engl 120 College Comp II, or Engl 125 Tech & Bus Writing
Comm 110 Fundamentals of Public Speaking
9
Social Science (minimum 2 departments)
9
*
*
Arts & Humanities (minimum 2 depts and must include 3 credits Fine Arts & 3 credits Humanities)
Musc 203 Popular and Classical Musics of the World
Fulfills Special Emphasis: G
Musc 260-264, 270-277 Music Ensembles
3 credits total count toward ES
9
* indicates credits counted as part of required music degree coursework
Math/Science/Technology (minimum 2 departments and must include 4 credits lab science)
28
3
1
3
1
3
1
3
1
Core Music Courses
Musc
Musc
Musc
Musc
Musc
Musc
Musc
Musc
130
131
134
135
230
231
234
235
Music Theory I
Aural Skills I
Music Theory II
Aural Skills II
Music Theory III
Aural Skills III
Music Theory IV: Music Theory Since 1900
Aural Skills IV
Musc
Musc
Musc
Musc
203
310
311
490
Pop and Classical Musics of the World
Music History Survey I
Music History Survey II
Seminar in Music
3
3
3
3
7
Electives in Theory, Composition, History, Literature, Conducting or Applied
2
2
Senior Project
Musc 492 Senior Project
Page 44
Counts as ES: Arts & Humanities
Fulfills Special Emphasis: A
Bachelor of Arts in Music
Revised 8/14/09
Page 2 of 2
Cred
Sem
Grade
10 Performance Courses in Music
Major Instrument (4)
1
Musc 155 Individual
1
Musc 155 Individual
1
Musc 255 Individual
1
Musc 255 Individual
Course
Notes
Lessons
Lessons
Lessons
Lessons
Secondary Instrument - Piano (2)
Musc 133 Keyboard Skills, Prof I, or Musc 154
Musc 136 Keyboard Skills, Prof II, or Musc 154
1
1
Major Ensembles (4)
Musc 2__
Musc 2__
Musc 2__
Musc 2__
Requisites in Other Departments (Select Option I or Option II)
Option I - Foreign Language
16
Foreign Language (Level IV proficiency - preferrably French or German)
1
1
1
1
32
Counts as ES: Arts & Humanities
Counts as ES: Arts & Humanities
Counts as ES: Arts & Humanities
Electives (2 credit hours must be outside of music)
Option II - Concentration in Single Supplementary Field (Defined as courses w/ same registration prefix or within a single major)
20
Concentration (9 credit hours must be 300 or above)
28
Electives
Page 45
Minor in Music
Revised 8/17/09
Page 1 of 1
Status Sheet
B.M. Music Education (Instrumental)
Fine Arts & Communication 94-96 Catalog
A&S Music Minor (available to all students except EHD/T&L students)
Cred
Sem
Grade
Course
14 Core Music Courses
3
Musc 100 Intro to Understanding of Music
3
Musc 130 Music Theory I
1
Musc 131 Aural Skills I
3
Musc 134 Music Theory II
1
Musc 135 Aural Skills II
3
Musc 310 or 311 Music Hist Survey I or II
10 Additional Courses in Music
Performance (Applied music, conducting, ensembles) (4)
Electives in Theory, Composition, History, Literature (6)
May be waived by exam
(may not include performance courses)
EHD Music Minor (EHD/T&L students electing a Music Minor must take this one.)
Cred
Sem
Grade
Course
16 Core Music Courses
3
Musc 100 Intro to Understanding of Music
3
Musc 130 usic Theory I
1
Musc 131 Aural Skills I
3
Musc 134 Music Theory II
1
Musc 135 Aural Skills II
2
Musc 256 Basic Conducting
3
Musc 310 or 311 Music Hist Survey I or II
10 Additional Courses
Performance - Applied Lessons (4-5)
1
Musc 154 Individual Lessons
1
Musc 154 Individual Lessons
1
Musc 254 Individual Lessons
1
Musc 254 Individual Lessons
May be waived by exam
Performance - Ensembles (2-3)
1
Musc 2__
1
Musc 2__
Education
3
Musc 440 (T&L 425) Elementary Music Meth & Mat
Page 46