KENT STATE UNIVERSITY ORCHESTRA
SYLLABUS
Spring Semester, 2016
(revised 1/18/2016)
COURSE NUMBERS:
Undergraduate: 45212
Masters: 55212
Doctoral: 75212
PREREQUISITES:
45212: Audition 55212: Graduate standing and audition
75212: Doctoral standing and audition
ORCHESTRA DIRECTOR: Professor Charles Latshaw
Office: CPA, room D209 (Hours by appointment, please. Or just stop by and take a chance. Whatever.)
Office phone: (330) 672-9235 ßWorst way to reach me.
E-mail: clatshaw@kent.edu ßBest way to reach me.
BULLETIN BOARD: Because the personnel changes from piece to piece, and therefore not all
members of the Orchestra are required for all rehearsals, communication with the entire membership of
the Orchestra will be by announcements posted on the KSU Orchestra Bulletin Board, which is located
across the hallway from the School of Music office. Each member of the Orchestra is required to
check the bulletin board on a regular basis, at least three times each week. This is the ONLY
official notification of rosters and rehearsal schedules. Yes, I use email also, but the Bulletin is the
super-duper-official notification.
REHEARSALS: Regular rehearsals are held in Ludwig Recital Hall from 2:15 PM to 4:10 PM
Mondays, Wednesdays, and Fridays. Additional rehearsal times and concert times are listed on the Kent
State University Orchestra Calendar. The times listed for the rehearsals, both regular class times and
special rehearsals, are the actual beginning times. Members of the Orchestra should be in place and
warmed up, ready for tuning at the time listed. A rehearsal schedule indicating the rehearsal times for
specific pieces will be posted every Monday morning. Please check the Orchestra bulletin board, across
from the School of Music office, frequently for schedule changes. Pencils are required at all
rehearsals.
RECITAL HALL: Please note that, in accordance with School of Music policy, food and drink are
not allowed in the Recital Hall or Carol Cartwright Hall (University Auditorium). Yes, water is fine.
PERFORMANCE DRESS CODE:
Women: Solid, long-sleeved (at least ¾ length) black blouses, floor-length black skirts or dress slacks,
black shoes, no jewelry.
Men: Black tuxedo, white shirt, black bow tie, black shoes, black socks.
Not acceptable: bare shoulders, arms, or midriffs; sweaters, black t-shirts, spandex or lycra-type pants,
jeans, sweatpants, open toed shoes, sandals.
INSTRUMENT CASES: Whenever possible, do not bring your instrument case on stage with you for
rehearsals or performances. Leave them backstage or in the hall. Clutter onstage causes accidents and
reduces rehearsal efficiency.
MOBILE PHONES: Your mobile phone should not be in the rehearsal room with you. Mobile phones
should never be on stage during rehearsal or performance. (That includes your pockets.) Please
leave your phone in your instrument case, locker, etc. “But my phone is my tuner and my metronome!”
Too bad. You don’t need a tuner or metronome for rehearsals or performances. Use your ears. “But I
don’t play for 800 more measures!” Listen to the rehearsal. Hopefully you’re in orchestra because you
like orchestral music. Don’t you? Why wouldn’t you want to be actively listening?
PRACTICE: Each member of the Orchestra is expected to practice the repertoire outside Orchestra
rehearsals on a regular basis, and to come to each rehearsal prepared for the music to be rehearsed that
day. Rehearsals are meant to work on our collective sound as an ensemble; they are not meant for
you to learn your individual parts. (Pro tip: If you’re trying to get me to grant an excused absence, the
absolute worst argument you can make is “I already know my part, so I don’t really need to be at the
rehearsal.” Get it in your head now: rehearsal isn’t about you. It’s about us.)
CALENDAR: Be sure you have a copy of the Kent State University Orchestra Calendar. This calendar
lists the dates, times, and locations for extra rehearsals, dress rehearsals, performances, and special events.
Please mark all of these activities in your personal calendar.
CLASS EXCUSES: If you need to miss another class because of an Orchestra activity, please contact the
Director of the Orchestra for a class excuse.
GRADING: Grading is based on effort during rehearsals and performances, appropriate outside
preparation of parts, completion of assigned duties, promptness in arrival at rehearsals and performances,
proper marking of parts (in pencil only), appropriate care of parts and folders (see below), and attendance
(as explained below under Attendance Policy).
ATTENDANCE POLICY: Members of the Orchestra are expected to attend all assigned rehearsals and
performances. The final grade for the semester will be reduced one letter grade for each unexcused
absence, as follows (based on a starting grade of A):
Number of unexcused absences
0
1
2
3
4 or more
Highest possible grade
A
B
C
D
F
All performances and dress rehearsals are mandatory. The final grade for the semester will be an F for
any student absent from a performance or dress rehearsal without being excused.
The following situations will be considered for excused absences:
1. Illness that prevents the student from attending a rehearsal or performance
If at all possible, the student should notify the Director of the Orchestra in advance. The student
should complete an Excuse Form upon returning to class. Any appropriate documentation (note
from doctor, dentist, or Health Center, etc.) should be attached to the form.
Note: Regular non-emergency medical or dental appointments should be scheduled at times that
do not conflict with rehearsals or performances. Absences for such appointments will not be
excused.
2. Death or serious illness in the student's immediate family
If at all possible, the student should notify the Director of the Orchestra in advance. The student
should complete an Excuse Form upon returning to class.
3. Approved conflicts, such as ensemble tours and run-out concerts, class field trips, required
conferences, competitions, and approved professional activities. The Director of the Orchestra
should be notified, and an Excuse Form should be submitted as far in advance as possible,
normally at least two weeks. Appropriate documentation should be attached to the form.
Note: For ensemble tours and run-out concerts, ensemble directors generally send a memo to the
School of Music faculty. Even when this is the case, the student is responsible for notifying the
Director of the Orchestra and for submitting the Excuse Form in advance.
Note: The fact that a student is scheduled to perform a recital the evening following an
afternoon Orchestra rehearsal is not appropriate grounds for an excused absence.
However, if the student requests well in advance of the rehearsal (at least two weeks), the
Director of the Orchestra will attempt to plan the rehearsal with special consideration for the
student playing the recital.
Being late for a rehearsal counts as one-half an absence, with the exception of the following:
1. If the student is detained by a KSU instructor
The student should bring a note from the instructor.
2. If the student has a class that regularly prevents the student from arriving on time
The student should notify the Director at the beginning of the semester.
When a student is late for a rehearsal, it is the student's responsibility to submit an Excuse Form.
Otherwise, the attendance record may show an unexcused absence.
Any student whose highest possible grade drops to a C due to that student’s being absent or late for
rehearsals and/or performances may be dismissed from the Orchestra at the discretion of the Director.
The submission of a completed Excuse Form does not automatically result in an approved excuse.
The completed Excuse Form is a petition to be excused with no penalty. The Director of the
Orchestra determines whether the excuse will be approved.
When it is necessary for a member of the Orchestra to miss a rehearsal, both the Director of the
Orchestra and the appropriate Orchestra Principal should be notified as far in advance as possible.
If it is necessary for a woodwind, brass, or percussion player to miss a rehearsal, that player should
arrange for a substitute, unless told otherwise by the Director of the Orchestra.
If it is necessary for a string player to miss a rehearsal, and if that player has the official stand part,
its essential for that player to make sure the part is available at the rehearsal.
NON-CREDIT MEMBERS: Although most students participating in the Orchestra should be enrolled
for credit, it is possible to be a non-credit member of the Orchestra. Non-credit members are expected to
follow the same policies and procedures as those who are receiving credit.
MARKING OF PARTS: Parts should be marked in pencil only. Appropriate marking of parts is
critical to the success of the Orchestra. Each player is responsible for making appropriate markings in
parts during rehearsals. For most pieces string parts will be distributed with complete bowings, but
occasionally string players will be asked to write in the bowings from a master part. Any bowing changes
made in rehearsal should be marked clearly in the parts used in the rehearsal and then transferred to all
other parts, including practice parts not used in rehearsal. Failure to mark parts appropriately may
result in the reduction of one letter grade.
CARE OF PARTS AND FOLDERS: Please take good care of Orchestra folders and all parts. Some
parts, especially rental materials, are very expensive to replace. All parts should be turned in by the
announced due date. Note: Each member of the Orchestra is responsible for each part received.
The player who received a part is responsible for that part, even if it is loaned to another player in
the Orchestra. The player is responsible for the replacement cost, including shipping and handling
charges, of any part lost or damaged while the part is signed out to that player. Cost of
replacement parts, including rental parts, generally ranges from $5.00 to $150.00 each. If a player
does not return a part, that player will be required to cover the cost of the part plus an additional
$25.00. If individual parts are not available, the player is responsible for the cost of an entire set,
generally in the range of $200.00 to $800.00. Any player who has not either turned in all
appropriate parts by the announced deadline, or made arrangements for replacement of parts lost
or damaged, will receive a grade of F. In addition, grades may be held by the University.
Making expectations clear:
WHAT’S EXPECTED OF YOU AS AN ORCHESTRA MEMBER:
I expect you to do a certain amount of preparation before each and every rehearsal. How much
preparation you do depends on your current skill level, the difficulty of the pieces, and where we are in
the rehearsal process. But let’s make one thing completely clear: the primary purpose of orchestra
rehearsals is to learn how to play our parts together so that the entire orchestra sounds as good as possible.
The purpose of an orchestra rehearsal is not for you to slowly learn your individual part one note at a
time. That may have been the way your high school orchestra or band or choir worked, but it’s not the
way your college orchestra works.
What’s expected before the FIRST rehearsal of a concert cycle:
I do my absolute best to ensure that you have information before the first rehearsal about the repertoire
we’re playing. And I also work to ensure that you have parts to practice at least one day in advance, if it’s
possible. The library work for an orchestra is enormous. Professional orchestras, like The Cleveland
Orchestra employ several full-time orchestra librarians. We don’t have full-time orchestra librarians here
to serve you. You’ll need to do some basic work on your own to be prepared.
What should you know before the first rehearsal?
• Which pieces we’re playing, and whether or not you’re playing each of those pieces
• Whether you’re going to need extra equipment for those pieces: mutes, piccolos, Eb trumpets, etc.
• You should at least listen to the pieces we’re playing before the first rehearsal, so you’re already
familiar with the styles, tempos, and general feel of the pieces. If you’re playing a world
premiere piece, or something that isn’t already recorded, you could actually look at the music.
Generally your parts give some clues about tempo, style, etc. It’s NOT OK to come into the first
rehearsal of a standard work, such as the Dvorak New World Symphony and have no idea how fast
the third movement goes. That’s pretty basic stuff.
• If it’s fairly standard rep, but you don’t have your part yet, go look it up on IMSLP! (That’s
http://www.IMSLP.org if you’ve never heard of IMSLP.) Just about any orchestral piece that’s
in the public domain will show up on IMSLP.
• You should look up the meaning of unfamiliar words before the first rehearsal. WRITE THE
MEANINGS IN YOUR PART. Don’t know what “cedez peu a peu” or “am Griffbrett” or
“schalltrichter auf” or “poco allegretto quasi larghetto ma non troppo” means? Do you think it
might be important to know? It definitely makes a difference. In the old days, musicians needed
to carry around music dictionaries with them. (I own several.) You don’t even need to do that
anymore. Google is your friend. Use it! (Incidentally, the Google Translate app for iOS or
Android is excellent for looking up foreign musical terms.)
• Find the tricky parts of the piece before the first rehearsal. If you’ve at least looked at them
before, you’ll find that they’re much easier to master later after you’ve played them in a group.
• You’re not expected to be perfect at the first rehearsal. But you are expected to have a basic
knowledge of the pieces and roughly how they should sound.
What’s expected of you at the rest of the rehearsals?
• Constant improvement. If something doesn’t go well for you in rehearsal, you should actively
work to make it go better in the future. If you flub a note, or fake your way through a difficult
arpeggio, or repeatedly play an incorrect rhythm, you should take responsibility for the errors and
then PRACTICE to improve them.
• COME TO REHEARSALS WITH MUSICAL IDEAS! Why do professional orchestras play at
such a high level with so few rehearsals? Because their musicians all show up to rehearsals with
ideas about how the music should be played. If you have a big solo, you should have a strong
opinion about the style, phrasing, articulations, etc. Don’t just wait around for the conductor to
•
•
•
tell you what to do. Try something out! (For me, as a conductor, I’m happiest when musicians
bring their own ideas about how to play a piece. Even if I disagree sometimes with how they’re
choosing to play it, the fact that they have their own ideas is much more rewarding and enjoyable
than having to ask for each and every expression, phrase, articulation, etc.)
Give all of your attention and effort all of the time. We don’t rehearse just for the sake of
rehearsing. We rehearse to play the greatest music possible at the highest level possible. So
work to be perfect in the first rehearsal! If the first rehearsal isn’t perfect, work for constant
improvement. Perfection is a constantly moving ideal – as we get stronger as an orchestra and as
musicians, our understanding of what’s possible will change. Our understanding of what’s
musically or physically possible will change. BE GREAT!
Make MUSIC in rehearsals. Every note from every instrument is important. If you think your
part is boring, then you’re not doing enough to make music. Listen to how your part works with
others. Listen to which parts you’re supporting, and figure out when you switch from a
supporting role to a leading role. I’ve said it before and I’ll say it again: “If you’re bored, it’s your
fault.” There’s no such thing as an “easy” piece of music. And only boring musicians get bored.
Every note and every dynamic and every articulation was carefully put in the piece for a reason.
Examine those markings. Try to figure out why they’re there. If you can’t figure out the reason
for something being the way it is, make up a reason! Maybe you’ll imagine that the composer
stubbed her toe in the morning and wanted an accent in the contrabassoon part to remind her to
get steel-toed slippers. The story you make up doesn’t matter. But it shows clearly when a
musician has ideas about their performance and when they don’t.
PERFORM! Let’s get rid of the complete dichotomy between rehearsal and performance. Too
often we make a mental separation between the two. But isn’t a rehearsal just a series of
performances for a smaller audience? When you’re practicing, and when you’re rehearsing, and
when you’re just playing scales as a warmup, try performing all the time. Change that mindset
that says “it’s OK to not play well right now, because I’m going to turn it on in the performance.”
Nope. Life doesn’t work that way. If you perform all the time, instead of practicing sometimes
and performing other times, you’ll become a much better musician very quickly.
What’s expected of you in performance?
• PERFORM! Pour your heart into getting the piece across the front of the stage to the audience.
Imagine the composer sitting in the room and work to play the piece better than that composer
will ever hear it again. Just make music!
• Forget about the “problems” with the piece. When you’re performing, if there’s a scale or a high
note, or some other thing you’re afraid of, you’ve got to let go of that fear. There’s nothing you
can do about it now. Either you’re prepared or you aren’t. So think about the whole piece and
where that spot fits in. Play through the difficult passage and make it a part of the whole. If
you’re well prepared it will go well. If you aren’t well prepared, then fake it with style!
• If something doesn’t go well in performance, LET IT GO. It’s in the past. If you played a D#
instead of a Db, there is nothing you can do to change what just happened, so keep your mind and
your music focused on the rest of the piece. Let go of frustration. Let go of self doubt. Just
perform. Make music on every note. Be great.
(the following are required university bureaucratic statements:)
Memo to Students:
A) University policy 3-01.3 requires that students with disabilities be provided reasonable
accommodations to ensure their equal access to course content. If you have a documented disability and
require accommodations, please contact the instructor at the beginning of the semester to make
arrangements for necessary classroom adjustments. Please note, you must first verify your eligibility for
these through Student Accessibility Services (contact 330-672-3391 or visit www.kent.edu/sas for more
information on registration procedures).
B) It is the student’s responsibility to ensure proper enrollment in classes. You are advised to review your
official class schedule to ensure proper enrollment. If registration errors are not corrected by the published
deadlines and you continue to attend and participate in classes for which you are not officially enrolled,
you are advised now that you will not receive credit for the course at the conclusion of the semester.
Every class has its own schedule of deadlines and considerations. To view the add/drop schedule and
other important dates for this class, go to FlashLine and choose Print Student Schedule on the Student
Tools & Courses tab to see the deadlines for the course (use the CRN for this class).
Course Learning Outcomes:
1. The students will improve performance skills through rehearsals. 2. The students will demonstrate
ensemble musicianship skill through public performance.
In-class activities that support Outcomes:
Structured ensemble rehearsal and public performance.
January 2016
Monday
Tuesday
Wednesday
Thursday
Friday
30
31
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
30
31
25
Eastern Time Time Zone
Sunday
29
2:00 PM String Auditions
2:15 PM Rehearsal
for Feb 21
Saturday
28
26
27
2:15 PM Rehearsal
for Feb 21
1:00 PM String Auditions
28
29
2:15 PM Rehearsal
for Feb 21
Page 1/5
February 2016
Monday
Tuesday
1
Wednesday
2
2:15 PM Rehearsal
for Feb 21
8
9
15
10
16
11
22
17
23
18
24
1
12
13
14
19
20
25
21
10:00 AM Rehearsal
for Feb 21
3:00 PM KSUO SUBSCRIPTION CONCERT
26
27
28
4
5
6
2:15 PM Rehearsal
for March 12-13
2
2:15 PM Rehearsal
for March 12-13
7
2:15 PM Rehearsal
for Feb 21
2:15 PM Rehearsal
for March 12-13
29
Sunday
6
2:15 PM Rehearsal
for Feb 21
2:15 PM Rehearsal
for Feb 21
2:15 PM NO REHEARSAL
Saturday
5
2:15 PM Rehearsal
for Feb 21
2:15 PM Rehearsal
for Feb 21
2:15 PM Rehearsal
for Feb 21
Eastern Time Time Zone
Friday
4
2:15 PM Rehearsal
for Feb 21
2:15 PM Rehearsal
for Feb 21
2:15 PM Rehearsal
for March 12-13
Thursday
3
3
2:15 PM Rehearsal
for March 12-13
Page 2/5
March 2016
Monday
Tuesday
29
Wednesday
1
2:15 PM Rehearsal
for March 12-13
7
8
14
9
15
16
10
7:00 PM Opera Dress
Rehearsal 7-10 PM
22
28
29
2:15 PM Rehearsal
for EwtO
Sunday
5
11
2:15 PM NO REHEARSAL
17
2:15 PM Rehearsal
for EwtO
21
Saturday
4
6
2:15 PM Rehearsal
for March 12-13
7:00 PM Opera Dress
Rehearsal 7-10 PM
2:15 PM NO REHEARSAL
Eastern Time Time Zone
Friday
3
2:15 PM Rehearsal
for March 12-13
6:00 PM Orchestra/
Cast Sitzprobe/Wandelprobe 6-9 PM
2:15 PM Rehearsal
for EwtO
Thursday
2
12
7:30 PM Opera Performance
13
3:00 PM Opera Performance
18
19
20
25
26
27
2
3
2:15 PM Rehearsal
for EwtO
23
24
30
31
1
2:15 PM Rehearsal
for EwtO
5:00 PM KSUO
Evening with the Orchestra
Page 3/5
April 2016
Monday
Tuesday
28
Wednesday
29
2:15 PM Rehearsal
for EwtO
4
6
12
13
18
19
14
20
26
9
10
15
16
17
21
22
23
24
29
30
1
2:15 PM Rehearsal
for May 8
27
2:15 PM Rehearsal
for May 8
8
2:15 PM Rehearsal
for May 8
2:15 PM Rehearsal
for May 8
25
3
5:00 PM KSUO
Evening with the Orchestra
2:15 PM Misc/Readings
2:15 PM Rehearsal
for May 8
2:15 PM Rehearsal
for May 8
Sunday
2
7
2:15 PM Misc/Readings
11
Saturday
1
2:15 PM Rehearsal
for EwtO
5
2:15 PM Rehearsal
for May 8
Eastern Time Time Zone
Friday
31
2:15 PM Rehearsal
for EwtO
2:15 PM NO REHEARSAL
2:15 PM Rehearsal
for May 8
Thursday
30
28
2:15 PM Rehearsal
for May 8
Page 4/5
May 2016
Monday
Tuesday
25
Wednesday
26
2:15 PM Rehearsal
for May 8
Friday
28
2:15 PM Rehearsal
for May 8
2
3
2:15 PM Rehearsal
for May 8
Eastern Time Time Zone
Thursday
27
Saturday
29
Sunday
30
1
2:15 PM Rehearsal
for May 8
4
5
2:15 PM Rehearsal
for May 8
6
7:00 PM Choral/Orchestral Dress Rehearsal 7-10PM
7
1:00 PM Choral/Orchestral Dress Rehearsal 1-4 PM
8
7:30 PM KSUO
Choral/Orchestral
Concert
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
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28
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Page 5/5
CompleteKSUOrchestraProgrammingforSpringSemester2016
Feb21
SubscriptionConcert#4
Maurice
Shostakovich
Mozart
March12-13 Opera
Herbert
April2
May8
3223-4231-tmp+1-hp-cel-str
2222-4100-tmp+1-hp-cel-str
12:00 TableauxdeProvence
2[1.2/pic]2[optionalEh]21-2100-tmp+1-hp-cel-str
20:00 PianoConcertoNo.2,op.126Gmajor 2[1.pic]222-4000-tmp/sd-str
35:00 SymphonyNo.40inGminor
1222-2000-str
90:00 Sweethearts
2121-2210-tmp+1-hp-str
2[1.2/pic]121-2210-hp-tmp+1-str
EveningwiththeOrchestra
PROGRAMTBA
50:00 TBA-Movies
TBA
SubscriptionConcert#5
Brahms
3223-4231-tmp-hp-str
3[1.2.pic]223[1.2.optcbn]-4231-tmp-2hp-str
65:00 EinDeutschesRequiem
ListofKSUOrchestraRehearsalsandPerformances
outsideofregularclasstime–Spring2016
February
Sunday,2/21
10:00-12:00DressRehearsal,CartwrightHall
3:00Performance
March
Monday,3/7
6:00-9:00PM,“Sitzprobe”OperaRehearsal,CartwrightHall
Wednesday,3/9
7:00-10:30PMOperaDressRehearsal,CartwrightHall
Thursday,3/10
7:00-10:30PMOperaDressRehearsal,CartwrightHall
Saturday,3/12
7:30PMOperaPerformance,CartwrightHall
Sunday,3/13
3:00PMOperaPerformance,CartwrightHall
April
Saturday,4/2
6:00-10:00PMEveningwiththeOrchestraDinnerandPerformance
May
Friday,5/6
7:00-10:00PMDressRehearsalwithChoirs,CartwrightHall
Saturday,5/7
1:00-4:00PMDressRehearsalwithChoirs,CartwrightHall
Sunday,5/8
7:30PMPerformance,CartwrightHall