Pacific Union College Department of Music
Music Student
Handbook
2015 - 2016
One Angwin Avenue
Angwin, CA 94508
(707) 965-6201
FAX (707) 965-6738
www.puc.edu/academics/departments/music/home
Instructions for filling out electronic PDFs
Many of the forms used in the Department of Music are interactive PDFs. You can find these forms on the PUC
Music home page, and on CANVAS. You may also e-mail the office and request that the form be e-mailed to you.
It is important that you open and fill out the form properly.
Instructions for filling out on-line PDFs: You must have Adobe Reader on your computer to properly save and enter
information in interactive PDFs. You can download Adobe Reader for free by going to http://get.adobe.com/reader/
Log in to CANVAS
- Click on the first tab named “Courses” – scroll down to “Music Majors”.
– On left side click on Files – Music Majors folder – FORMS
- Click on the form you want. The document will be downloaded to your computer and open.
(You should see a sentence at the top indicating that you can save data in this form).
- Enter your information.
- Save As... and enter your last name at the beginning of the file name. It is suggested that you save the file to your desktop so it is easy to locate.
- E-mail the form to: music@puc.edu and to your teacher.
Dropbox.com
The Department of Music utilizes Dropbox.com as a storage facility for practice logs, forms, Finale projects, etc. Each
music major has a folder in Dropbox.com where you can store music projects you are working on in the computer lab so
you can access them from other computers.
There is a folder called !FORMS! that contains various PDF forms you will need throughout the quarter. Please duplicate a form and rename it with your LAST name at the beginning of the name BEFORE filling it in so the original form
is blank for the next person. You can return certain forms to the music office by placing them in the appropriate folder in
Dropbox: “Forms...to Linda”. (Please follow the instructions above to properly save your PDF forms).
Table of Contents
All the forms referenced in this handbook can be obtained from the Music Office
or from CANVAS-Files-Music Majors-FORMS.
ii-iii Music Department Calendar of Events
1-24 Academics
1
Degree Level Student Learning Outcomes
2
How to Become a Music Major
2-7
Information for All Music Majors
3-4
Sophomore Evaluation
3-5 Information for B. Mus. Performance & B. Mus. Education Majors
6-7
Audition Guidelines
8-9 Private Music Lessons
10-11 Juries
12 Concert & Recital Attendance
13-14 Tests
15 16-20 Recitals
21-23 Ensembles
24
Financial Information
25 Music Scholarships
Portfolio
26-27
Paulin Hall Facilities and Instruments
28 Paulin Center for the Creative Arts (PCCA)
28 Music Club
29 Honors and Social Groups
30-34
Faculty and Staff
345
A Brief History
36-41 Policies and Guidelines
36 Practice Room Usage Policy
37
Computer Lab Usage Policy
38-39 Auditorium and Lobby Usage Guidelines
40-41
Kitchenette Usage Guidelines
42-44 Program Level SLO Rubrics
45 Music Performance Rubric
46-59 Curriculum Guides
60 Index
i
PACIFIC UNION COLLEGE DEPARTMENT OF MUSIC
2015 - 2016
Calendar of Event
FALL Quarter 2015
September 19 Sabbath
6:00 pm
20 Sunday
5:30 pm
21
24 Thursday
October
24 Sabbath
5:30 pm
November 9 Monday
6:00 pm
10 Tuesday
6:00 pm
14 Sabbath
4:00 pm
7:00 pm
15 Sunday
4:00 pm
17 Tuesday
6:00 pm
18 Wednesday 6:00 pm
19 Thursday 6:00 pm
20 - Nov. 29
30 Monday
7:00 pm
December 2 Wednesday 7:00 pm
4 Friday
8:00 pm
5 Sabbath
4:00 pm
7 - 10
12 Sabbath
4:00 pm
Dec. 11 - Jan. 3
Evensong (PUC Church Sanctuary)
Music Majors’ Supper (Fireside Room) Attendance required
INSTRUCTION Begins
LAST DAY TO ADD/DELETE CLASSES
Evensong (PUC Church Sanctuary)
PCCA Student Recital
PCCA Student Recital
Evensong
Orchestra Concert
Symphonic Wind Ensemble Concert
General Student Recital
General Student Recital
Jazz Ensemble Concert
THANKSGIVING RECESS
Brass & Winds Chamber Concert
String Ensemble Concert
Christmas Concert (PUC Church Sanctuary)
Christmas Concert (PUC Church Sanctuary)
FINAL EXAMS
Evensong (PUC Church Sanctuary)
CHRISTMAS RECESS
WINTER Quarter 2016
January 4
9
18
25
26
27
30
February 5
13
24-27
27
March 1
2
3
MondayINSTRUCTION BEGINS
Sabbath
4:00 pm Evensong (PUC Church Sanctuary)
Monday
NO CLASSES (Martin Luther king Jr. Day)
Monday
6:00 pm PCCA Student Recital
Tuesday
6:00 pm PCCA Student Recital
Wednesday 6:00 pm PCCA Student Recital
Saturday
7:00 pm Music Faculty Recital
Friday
NO CLASSES (Mid quarter Break)
Sabbath
4:00 pm Hans Hielscher Organ Recital (PUC Church Sanctuary)
Wed. - Sat.Academy Band Festival
Saturday
8:00 pm Academy Band Festival Concert
Tuesday
6:00 pm General Student Recital
Wednesday 6:00 pm General Student Recital
Thursday 6:30 pm Jazz Ensemble Concert
ii
5 Sabbath
4:00 pm
7:00 pm
6 Sunday
4:00 pm
7 Monday
7:00 pm
8 Tuesday
7:00 pm
12 Sabbath
5:30 pm
14 - 17
Mar. 18 - 27
Choral Concert
Orchestra Concert
Symphonic Wind Ensemble Concert
Brass & Woods Chamber Concert
String Ensemble Concert Choral Evensong (Paulin Hall Auditorium)
FINAL EXAMS
SPRING VACATION
SPRING Quarter 2016
March
28INSTRUCTION BEGINS
April
16 Sabbath
4:00 pm Homecoming Concert
6:30 pm Evensong (Paulin Hall Auditorium)
May
14 Sabbath
7:00 pm Evensong (PUC Church Sanctuary)
15 Sunday
4:00 pm Symphonic Wind Ensemble Concert
16 Monday
6:00 pm PCCA Student Recital
17 Tuesday
5:30 pm Golden State Choral Festival Concert (PUC Church Sanctuary)
6:00 pm PCCA Student Recital
18 Wednesday 6:00 pm PCCA Student Recital
21 Saturday
8:00 pm Choral Concert
22 Sunday
4:00 pm Orchestra Concert
23 Monday
7:00 pm Brass & Woods Chamber Concert
24 Tuesday
6:00 pm General Student Recital
25 Wednesday 6:00 pm General Student Recital
26 Thursday 6:30 pm Jazz Ensemble Concert
28-30
Memorial Weekend - NO CLASSES May 30
June 2 Thursday 7:00 pm String Ensemble Concert
4 Sabbath
7:30 pm Evensong (Paulin Hall Auditorium)
6 - 9
FINAL EXAMS
12
COMMENCEMENT
Programs subject to change
All programs in Paulin Hall Auditorium unless otherwise noted. (707) 965-6201 • www.puc.edu/music-events • www.puc.edu/pcca
iii
ACADEMICS
Degree Level Student Learning Outcomes
(SLOs)
(Rubrics can be found on pages 42-45. Curriculum guides can be found on pages 46-59).
Successful Bachelor of Music major with an emphasis in Music Education will be able to
• Demonstrate skill as a solo and ensemble performer who can work as a professional educator.
(SLO Rubric 1, page 42)
• Apply specific knowledge in music theory, music history, and conducting relevant to a professional career as a music educator. (SLO Rubrics 2 and 3, pages 42-43)
• Appreciate the diversity of musical styles within and outside the traditional canon of Western music. (SLO Rubric 2, page 42)
• Think, speak, and write clearly and effectively about music. (SLO Rubric 2, page 42)
• Utilize skills to work with current technology in music notation and synthesis, and other relevant media. (SLO Rubric 4, page 43)
• Demonstrate the appropriate pedagogical skills necessary to function as an effective K-12 music
educator. (SLO Rubric 5, page 44)
Curriculum Guide, page 46-47 (yellow)
Successful Bachelor of Music major with an emphasis in Performance will be able to
• Demonstrate excellent skill as a solo and ensemble performer in preparation for a professional career as performing musician. (SLO Rubric 1, page 42)
• Apply specific knowledge in music theory, music history, conducting, and instrumental or vocal peda-
gogy relevant to a professional career as a performing musician. (SLO Rubrics 2 and 3, pages 42-43)
• Appreciate the diversity of musical styles within and outside the traditional canon of Western music. (SLO Rubric 2, page 42)
• Think, speak, and write clearly and effectively about music. (SLO Rubric 2, page 42)
• Utilize appropriate skills to work with current technology in music notation and synthesis, and other relevant media. (SLO Rubric 4, page 43)
Curriculum Guide, page 48-49 (orchid)
Successful Bachelor of Science Music major will be able to
• Demonstrate a level of competence as a solo and ensemble performer appropriate for a musician edu-
cated in the liberal arts. (SLO Rubric 1, page 42)
• Apply specific knowledge in music theory, music history, and basic conducting relevant to a musician educated in the liberal arts. (SLO Rubrics 2 and 3, pages 42-43)
• Appreciate the diversity of musical styles within and outside the traditional canon of Western music. (SLO Rubric 2, page 42)
• Think, speak and write clearly and effectively about music. (SLO Rubric 2, page 42)
• Utilize foundational skills in current technology in music notation and synthesis. (SLO Rubric 4, page 43)
Curriculum Guide, page 50-51 (green)
Successful Associate of Science Music major will be able to
• Demonstrate a level of competence as a solo and ensemble performer appropriate for a connoisseur musician. (SLO Rubric 1, page 42)
• Apply foundational knowledge in music theory, music history, and conducting. (SLO Rubrics 2 and 3, pages 42-43)
• Appreciate the diversity of musical styles within and outside the traditional canon of Western music. (SLO Rubric 2, page, 42)
Curriculum Guide, page 52-53 (blue)
1
How to Become A Music Major
(Private lesson fee will be waived if all requirements are met each quarter.)
Step 1 - On your application to the college, state that you want to be a music major. If you are already
enrolled at PUC, you can submit a change of major through the Registrar’s Office or online in
WebAdvisor.
Step 2 - Pass an entrance audition in your major instrument or voice (see page 6-7 for audition requirements).
Step 3 - REGISTER for Music Performance Lessons:
• MUSP 163 if you pass an entrance audition. • MUSP 162 if you have not passed an entrance audition (see pages 6-7) * (you are considered a pre-music major).
You will receive a Lesson Fee Waiver each quarter you meet the following requirements:
- Attend a least 7 classical concerts per quarter.
- Practice at least 25 hours per quarter and document practice hours weekly for each
instrument you study.
- Turn in Rep Sheet (Repertoire Sheet) by Friday of dead week, or 48 hours before a jury on recital.
Failure to meet these requirements will void the Lesson Fee Waiver, and you will be charged the full fee of $250
for each instrument. Continued failure to meet these requirements may affect your music major status.
* MUSP 162 - If you do not pass an entrance audition at the beginning of your first quarter, and you have declared a music
degree on CANVAS, prepare to hold an entrance audition at the end of your first quarter. If you pass your entrance
audition and are accepted as a music major, the private lesson fee will be waived, and you can register for MUSP 163 the
following quarter.
If you do not pass the entrance audition at the end of your first quarter, you will be charged a Pre-Music Major lesson fee
of $125 for that quarter, and each quarter, up to three quarters, on until you pass. If you do not pass after three quarters,
you will be charged the full lesson fee of $250 until you pass and are accepted as a music major.
Step 4 - Register for MUTH 121 and 121L (Theory I) and take the Theory Placement Examination (TPE) offered
during the first week of classes. If you do not pass this exam you will be required to drop MUTH 121 and take MUTH
103 (Fundamentals of Music Theory) Spring quarter.
Step 5 - Pass the Piano Proficiency Test (PPT) during the first week of classes. If you have little or no piano background,
you will need to take piano lessons until you pass the PPT. Come to the Music Office and pick up a Change of Registration Request form to add piano lessons to your schedule. (See page 13 for more information).
Step 6 - Register for MUEN Ensemble(s) relevant to your major instrument (See pages 21-22 for list of ensembles).
Auditions are held during the first week of school. (See page 23 for Audition Guidelines).
Step 7 - Let the Department of Music chair know that you are working toward a music degree.
Step 8 - Meet with your advisor to discuss your program and go over the music student handbook.
Step 9 - Pass a formal jury at the end of the first quarter in residence (see page 10-11 for jury information).
Information for all Music Majors
All music majors should study the information concerning the general education requirements relevant to your degree
found in the Pacific Union College General Catalog for the year you started at PUC. In addition, all music majors should
be familiar with the specific music major requirements as found on pages 140-142 of the General Catalog. These are the
2
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courses you must pass with at least a “C” to receive your degree. Bachelor of Music voice performance emphasis majors
are required to complete satisfactorily one year of French, German, or Italian. Your advisor will help you through the intricacies of figuring out your program, but YOU are ultimately responsible for the classes you take and for achieving your
degree.
Credit Hour Policy
One quarter credit at Pacific Union College generally represents a minimum of 30 hours of work on the part of the student. The student work includes both classroom instruction and out-of-class work, and is typically spread out over the standard
quarter (ten weeks of standard instruction and one week of final examinations). A course may be offered in a term of a
different length, but it must contain the same contact time and out-of-class student work expectations as the same course
offered during a standard academic quarter.
Courses that are listed for variable credits will specify how credit value is assigned, and requirements will be clearly delineated for each credit value offered.
Credit Hours by Instructional Methods
Credit hours for a course should be assigned according to the guidelines for the instructional method of the course. A
course may combine multiple methods of instruction to compose the credit total. For example, many courses at Pacific
Union College combine lecture and laboratory components.
• Standard Courses
Lecture, seminar, discussion, examination
Valued at one credit for 50 minutes of classroom instruction per week, with a normal minimum expecta-
tion of two hours of out-of class student work per week per credit. An additional two hours of instruction
and/or testing occurs for each course during final examination week.
• Activities Supervised as a Group
Laboratory, clinical, group practicum, exercise science activity, music ensemble, group art studio, dramatic performance, workshop
Valued at one credit for 150 minutes of supervised activity per week. When the activity involves sub stantial out-of-class student work, the meeting time may be reduced to 100 minutes of supervised activity
per week.
• Individualized Courses
Directed study, independent study, project, research, thesis, fieldwork, internship, externship,
individual practicum, flight training, music lessons, private art studio
Valued at one credit for a minimum of three hours of student work per week as assigned and evaluated by
the instructor.
Sophomore Evaluation
(B.Mus. Education, B.Mus. Performance & B.S.)
During the sophomore year all bachelors degree majors, after completing at least 90 credits as accepted by PUC, will meet
with the music faculty for an evaluation and present their “Statement of Personal Goals”. The purpose of this meeting is
to provide an opportunity for you and the faculty to talk together about a career in music. This evaluation is an important
step toward fulfilling the requirements for your degree and you will want to prepare well. If you pass this interview provisionally, you must take a formal jury every quarter until you can successfully pass this evaluation. Prior to the evaluation, create your Statement of Personal Goals on CANVAS in consultation with your teacher following
the instructions below, and e-mail it to music@puc.edu before your evaluation.
3
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Statement of Personal Goals Instructions
• Create your statement in Microsoft WORD (or equivalent)
• Include the following in the header:
Presented to the Music Department Faculty of Pacific Union College By (insert your name here)
• Depending on your degree, your goals should include:
Music Education Majors
B.S. and B.Mus. Performance Majors
• Your reason for choosing music teaching
as your career.
• Personal characteristics, qualifications and
potential you have that will contribute to your success.
• Areas in which you can make a strong contribution to the profession.
• A summary of your teaching and conducting
experience.
• Your reason for choosing music as your career. If not
pursuing a musical career, what are your career plans?
• Personal characteristics, qualifications and potential you
have that will contribute to your success in your career.
• Areas in which your musical skills can make a strong
contribution to your chosen career.
• If music is your career path, provide a summary of your
teaching, performing, and/or conducting experience.
• E-mail your statement to music@puc.edu.
• Office manager will print out copies for faculty and 1 for file, and distribute to faculty before the evaluation, or, if evaluation is scheduled during formal juries, the statement will be included with the jury sheet
Information for B.Mus. Performance & B. Mus. Education Majors
Piano Proficiency Test (PPT)
All B.Mus. Performance and B.Mus. Education Majors
are required to pass the PPT (page 13). This examination
should be taken and passed by the end of the sophomore
year or you will not be promoted into UD lessons in your
major instrument and will have your status as a music
major reviewed each quarter until it is passed.
Information for B. Mus. Education Majors
If you are a B.Mus.Ed. emphasis major you should be
acquainted with the information on pages 140-141 of the
General Catalog. Be aware that teacher education candidates must maintain a minimum cumulative GPA of a
least 2.5 overall and 2.7 in upper division music courses,
in order to be eligible for student teaching. Because state
requirements change in the music education curriculum,
you should remain in close contact with your education
and music advisers to be aware of new requirements
which might not be in this handbook or the General
Catalog. In order to obtain your teaching credential you
will need to take the required courses, and then pass the
California Subject Examination for Teachers (CSET) in
Music.
Foreign Language Study
Although study of a foreign language is a requirement for
voice B.Mus.Perf. majors only, if you anticipate going to
graduate school in the future you should keep in mind
that many graduate degrees require facility in at least one
foreign language: usually French, German, or Italian.
Taking a foreign language in college can be most helpful
in preparing you for this aspect of graduate work.
Information for B. Music Education Majors
Competencies, Qualifications, and Procedures Involved in the
Recommendation Process For Student Teaching
Before Bachelor of Music students (education emphasis) can be accepted into the Directed Teaching program, they must
be recommended by the Music Department faculty as having promise of success in the classroom. Below is a summary
of the competencies and personal attributes considered, as well as the process involved. After considering these items, the
faculty determine whether a student can be recommended without qualification, recommended with reservation, or should
not be recommended. Upon completion of this degree, the graduate is granted both California State Preliminary and SDA
Basic credentials that qualify one to instruct in all phases of music from preschool through grade twelve.
4
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Qualifications and Procedures
• Students must meet the requirements listed in the Pacific Union College General Catalog, under “Prerequisites for Student Teaching”, page 92.
Emotional maturity is also expected of successful teachers: exhibiting patience, self control and cheerfulness. They should hold clear, accurate pictures of their own
abilities and self worth. From this secure personal concept, they should develop constructive behavior responses
when confronted with potentially unsettling situations.
Such teachers can maintain positive relationships with
individuals of various social, ethnic, and religious backgrounds. They are able to handle disagreements and controversy with patience, openness, and understanding, and
are willing, when possible, to achieve mutual solutions.
In addition, mature teachers are willing and able to learn
from their errors, and to respond appropriately to constructive criticism.
• Students will have passed courses which are designed
to help prepare them for the teaching experience in music. They are also expected to demonstrate competency
in such areas as conducting and directing, ensemble
music selection, rehearsal techniques, organization and
setup.
• During student’s sophomore year, B.Mus. Education
majors meet with the music faculty to discuss their Statement of Personal Goals (see previous page for more information).
Professionally, successful teachers are able to set realistic
and significant goals and can plan and organize effectively. They also continually seek, evaluate, and utilize new
ideas and developments in their fields, incorporating these
into their teaching as they prove useful. Through their
mastery of and enthusiasm for their subject, successful
teachers generate corresponding positive attitudes in their
students – the result of instruction from an active, leadercatalyst rather than a passive participant.
Personal characteristics also considered
Most students enter the music curriculum impelled by
their interest in performing. As the following comments
will show however, the role of the music teacher is much
broader than performance alone. While this is an important skill for the classroom teacher and ensemble director, it is toward the profession of the teacher-conductor
that students need to develop their skills and interests.
There are many important qualities universally expected
of successful teachers. These may be arranged into several categories, two important ones being the personal/
social area and the professional area.
Naturally, students entering the teaching program are not
required to display these qualities to the extent expected of
an experienced, successful teacher. Students should, however, show evidence that these qualities are developing
and have the promise of further development as learning
and experience continue. It is assumed that achievements
made and relationships developed while attending school
can be indicative of further directions of growth.
One of the most important qualities teachers must possess is the ability to interact pleasantly and constructively with their colleagues. Teachers should have a cooperative attitude toward their peers while pursing their
own programs. In addition, they should exhibit a respect
for their superiors and employers, developing a positive
relationship with those who are charged with the responsibility of providing their employment and encouraging
their professional development.
Teacher Placement File
The Education Department keeps a placement file for
students who are interested in seeking positions in nonAdventist institutions. For those seeking employment in
church-related institutions, the International Adventists
Musicians Association (IAMA) publishes job openings in
the “Hotline” section of its website at www.iamaonline.
com.
5
Audition Guidelines
To Become A Music Major
Schedule a 10 minute entrance audition with at least three Music faculty and come prepared to play material from the
following list appropriate to your instrument and the degree you seek. If you feel you are not ready to perform an audition, contact the Music Department Chair to schedule lessons in preparation for your audition in the future.
PIANO
B.Mus. and B.S.
Prepare 4 octave scales and arpeggios for all major and harmonic minor forms.
Prepare the following repertoire that shows proficiency in your instrument at an intermediate to advanced level:
• A selection from Bach (short preludes, Inventions and Sinfonias, Prelude and Fugues)
• A movement from a classical sonata of Haydn, Mozart, or Beethoven
• A piece from the Romantic or the Contemporary period
• Memorization: At least 2 of the pieces for B.Mus.Perf., or 1 of the pieces for B.S. and B.Mus.Ed
• Sight-reading of selected literature
A.S.
• Prepare two contrasting pieces from standard solo repertoire
VIOLIN B.M. Performance
• A movement of a solo partita or sonata by J.S. Bach
• The first movement of a standard major violin concerto (with the cadenza if there is one) or the last two movements of a standard violin concerto (no Bach)
• At least one of these must be memorized
B.S. and B.M. Education
• The first movement of a standard violin concerto (with the cadenza if there is one) or the last two move ments of a standard violin concerto
OR
• Two contrasting concert pieces (or sonata movements) from standard solo repertoire
A.S.
• Two contrasting pieces from standard solo repertoire
VIOLA
B.S., B.M. Education, B.M. Performance
• Two contrasting pieces from standard solo literature
• Performance majors only: At least one of these works must be memorized
A.S.
• Two contrasting pieces from standard solo repertoire
VIOLINCELLO
B.S., B.M. Education, B.M. Performance
• Two contrasting pieces from standard solo literature
• Performance majors only: At least one of these works must be memorized
A.S.
• Two contrasting pieces from standard solo repertoire
DOUBLE BASS
B.S., B.M. Education., B.M. Performance
• Two contrasting pieces from standard solo literature
• Performance majors only: At least one of these works must be memorized
A.S.
• Two contrasting pieces from standard solo repertoire
GUITAR
B.S., B.M. Education, B.M. Performance
• Two contrasting pieces from standard solo literature
• Performance majors only: At least one of these works must be memorized
A.S.
• Two contrasting pieces from standard solo repertoire
-continued...
6
HARP
B.S., B.M. Education, B.M. Performance
• Two contrasting pieces from standard solo literature
• Performance majors only: At least one of these works must be memorized
A.S.
• Two contrasting pieces from standard solo repertoire
WINDS AND BRASS
B.S., B.M. Education, B.M. Performance
• Two contrasting pieces from standard classical repertoire. These can be etudes or movements (excerpts) of
sonatas/concertos. Baroque transcriptions, classical, romantic, 20th century.
• Major/minor scales up to 5 accidentals, chromatic full range.
• B.M. Performance must play at least one piece from memory
A.S.
• Two contrasting pieces from standard solo repertoire
PERCUSSION
B.S., B.M. Education, B.M. Performance, A.S.
• Two of three areas: PAS snare drum rudiments and solo piece; timpani etude (Goodman MODERN METHOD or Cirone); mallet etude (Goldenberg or Cirone)
VOCAL
B.Mus., B. S., A. S. degrees
Perform from memory two representative selections from the classical vocal repertoire. These works should be in contrasting style. For example:
• An Italian Art Song or Aria.
• An English Art Song.
Sight-reading of a selection may be required. Faculty may ask applicant to vocalize some scales to check vocal range.
ORGAN
B.Mus., B. S., A. S. degrees
Perform two representative selections from the classical organ repertoire. These works should be contrasting in style.
For example:
• A major work by J. S. Bach
• A major work from the Romantic or the Contemporary period.
Faculty may ask applicant to sight read a given portion of organ repertoire and a hymn.
7
Private Music Lessons
Form: Private Lesson Information Form
(Download from CANVAS. See inside front cover of this handbook for instructions)
General Lesson Policies
Private music lessons are offered on either a for-credit
or no-credit basis. One (1) credit is equivalent to nine
30-minute lessons per quarter. Non-music majors are
charged a lesson fee of $250 per credit hour in addition
to any necessary tuition charges. Non-credit lessons will
be assessed a $350 fee based on nine 30-minute lessons.
If a student withdraws within the first two weeks of the
quarter, the fee will be pro-rated. After that no refunds
will be given. The following criteria must be met for
each
music major:
– Bachelor of Music Majors: Study in your major performance area is required each quarter in residence. Music majors who meet all the requirements listed
below will receive a fee waiver.
– B.S. & A.S. Music Majors: Must be enrolled in music
courses required for your music degree in order to receive
private music lessons at no additional charge.
Students are expected to be on time and attend every
lesson. Unexcused absences will not be made up. If a
teacher misses a lesson they will coordinate with the student to make up the lesson by the end of the final week
of the quarter.
– Jury Performance: All music majors are to perform a
jury (see page 10-11) each quarter lessons are taken. You
must complete at least 1 formal jury per year.
Private Lesson Charges
Music Major Lesson Fees (nine 30-minute lessons per quarter)
MUSP 163/363 Primary Instrument ($250 fee waived if all requirements met).
MUSP 164/364
MUSP 162
MUSP 386
Non-Credit
Primary Instrument ($250 fee waived if all requirements met).
Piano Proficiency ($250 fee waived if all requirements met).
Secondary Instrument
B.Mus. ($250 fee waived if all requirements met).
B.S. & A.S. - will be charged $125 per credit hour if all requirements met.
All instruments - $250 per credit hour
How to Qualify for a Lesson Fee Waiver
B.Mus. Music Majors
The private lesson fee for primary, secondary instruments, and piano proficiency will be waived for majors who meet all of the following requirements each quarter in residence:
- Pass an entrance audition or pass provisionally (see page 6-7).
- Are registered for Theory classes, or who have already taken these course and are continuing to enroll in courses normally expected of majors.
- Attend at least 7 classical concerts per quarter (see page 12 ).
- Practice at least 25 hours per credit hour, per quarter and document hours weekly for each instrument you study (see page 9 for Practice Hours Policy).
- Turn in Rep Sheet by Friday of dead week, or 48 hours before a jury on recital (see page 10).
Failure to meet all requirements will void the Lesson Fee Waiver, and you will be charged the full fee of $250 per
credit hour for each instrument. Continued failure to meet these requirements may affect your music major status.
B.S. & A.S. Majors
The fee for primary instrument will be waived if above requirements are met.
Secondary instruments will incur a lesson fee of $125 per credit hour.
Failure to meet these requirements will void the Lesson Fee Waiver, and you will charged the full fee of $250 per
credit hour for each instrument.
8
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Pre-Music Majors
If you have not passed an entrance audition, but have been accepted provisionally, and have declared a
music degree on Canvas, you may register for the first quarter of lessons (MUSP 162) and the lesson fee will
be waived if you meet the requirements under “How to Qualify for a Lesson Fee Waiver”, and pass your
entrance audition at the end of your first quarter, and are accepted as a music major.
If you do not pass the entrance audition at the end of your first quarter, you will be charged a Pre-Music Major lesson fee of $125 per credit hour each quarter up to three quarters. If you do not pass after three quarters, you will be charged the full lesson fee of $250 until you pass and are accepted as a music major. As a Pre-Major,
you are expected to keep up with all music major requirements.
Non-Music Major Lesson Fees (nine 30-minute lessons)
For credit
$250 per credit hour
Non-Credit
$350 per 30-minute lessons)
Practice Hours Policy
Choosing Your Music Performance Teacher
Music students usually register for lessons from one of
the regular music faculty. In cases when none of these
teachers are qualified to teach a specific instrument or
when the teachers in a performance area are too overloaded to accept more students, special arrangements can
be made to take from a different teacher on a commission
basis. All requests to study with commission teachers
must be made in writing to the department chair before
the third day of classes in order for such a request to be
approved by the music faculty. This rule applies even if
you have studied with a commission teacher in previous
years or quarters.
To qualify for the Lesson Fee Waiver, all music majors and
pre-music majors must follow the requirements below:
• Practice a minimum of 25 hours per credit hour, per
quarter in each instrument
• Document weekly practice hours on CANVAS, under
Assignment tab. The documentation period will close
at midnight each Sunday night. Failure to document
your practice hours weekly is treated like a late
assignment and MAY result in a low mid-term or
final grade.
• All practice hours should be recorded by Friday of
“dead week” with any additional hours due by
Wednesday of exam week.
How to Register for Private Music Lessons
Register by computer on WebAdvisor just as you do for
other classes. Determine your MUSP # from the class
schedule, then choose the section number for your teacher. If the teacher of your choice is not listed, contact
the Music Office for a section number.
Fill out an electronic Private Lesson Information Form
(interactive PDF) during the first week of classes, if not
sooner and e-mail to the music@puc.edu to facilitate
scheduling your lesson. Your teacher should contact you
by the beginning of the second week of classes.
Keep in mind: the minimum requirement of 25 hours per
quarter may be below the amount required for a passing
grade. Check with your teach for specifics.
You may obtain a practice card or full sheet practice log
from the music office to record you daily practice before
uploading the weekly totals to Canvas.
How to Get An “A”
Read your lesson syllabus. Each studio has specific requirements. As a general rule, a minimum of 4-6 hours
of practice time each week is required for each credit hour
taken. Most majors should register for only one hour of
credit in their major instrument each quarter; however, performance emphasis majors need to take 3 hours of credit in
their major instrument per quarter, and increase their practice hours accordingly.
Applying for Upper Division (UD) Music Lessons
Send an e-mail to music@puc.edu requesting permission to register for UD. Evaluation will be made at your
formal jury, and you will be notified through your Quarterly Report at the end of the quarter. You are expected to
pass PPT II before you can take upper UD lessons.
9
Juries
Form: Repertoire Sheet
(Download from CANVAS. See inside front cover of this handbook for instructions)
Juries Defined
All music majors must complete a jury each quarter lessons are taken in their major instrument. Juries are the
final examination for your private lessons. This exam,
before at least three faculty members, is a way for the
music faculty to keep informed of your musical progress.
It helps you develop state presence, and provides you an
opportunity to practice performing in a less stressful situation than recitals. In addition, an approaching jury may
help motivate you to practice more.
- GSRs - turn in 2 forms:
General Student Recital Information
Rep Sheet
- Solo, joint or degree recitals - turn in
Recital Program Repertoire form
Jury Action/Comments
At completion of your jury the music faculty will assign
a grade that is reflected in your private lesson grade and will write comments on your performance. Jury comments will be available to discuss with your teacher by
the second week of the new quarter.
Repertoire Sheet
A Repertoire Sheet (Rep Sheet) is used to report what
you have been working on during the quarter. It is highly
recommended that you update your comprehensive repertoire list for your e-portfolios at the same time you
fill out your Rep Sheet (see page x for more information about portfolios). Your Rep Sheet must be turned in
by Friday of “dead week” or 48 hours before a jury on
recital. Failure to turn in your Rep Sheet will void your
Lesson Fee Waiver.
What if I can’t hold a jury?
Since the jury is the final exam for your private lessons,
if you do not complete a jury you will have to take an
incomplete for that quarter. Talk to your teacher as soon
as possible to request an incomplete, which must be approved by the music faculty. The incomplete must be
completed by the due date.
What to Perform on a Jury
Jury repertoire is selected during your lesson in consultation with your teacher. Generally, repertoire will reflect
your ability to handle music at the level for which you are
registered. You should try to select works from different
styles with a variety of technical challenges from quarter
to quarter. Note: A degree recital is automatically juried, so you do
not have to do a formal jury that quarter. You may turn
in a Recital Program Repertoire form in place of the Rep
Sheet.
Types of Juries
• Formal Jury: This 10-minute jury usually occurs during final exam week, and is held in the auditorium or
church sanctuary (organists). All music majors must jury
at least once each year in this type of jury.
- Sign up for a time slot at the music office
beginning 2 weeks before the formal jury.
- Turn in Rep Sheet by Friday of “dead week”, or 48 hours before a jury on recital.
- On the day of the jury, a schedule will be
displayed on the auditorium door and at
the music office. When it is your turn, one
of the music faculty will come out to
invite you in.
At your jury you will be asked to perform your jury selections, or portions of these selections and possibly play
some technical exercises or scales and sight read. You
should know and be able to discuss information about
your pieces such as the date of birth and death of the composers, as well as theory and background of the pieces.
Jury Evaluation Guidelines
The following list will give an idea of some of the factors
that are considered in a jury evaluation and your performance grade which is based on the Music Performance
Rubric on page 45.
• Jury by Recital: You may choose to jury during a
General Student Recital (GSR) or on a solo, joint or degree recital.
-continued...
10
General Musicianship
a) Tempo (speed, stability, rubato, variations)
b) Rhythm (precision, two against three and other complexities, rhythmic accents)
c) Pitch accuracy (inaccuracies or “mistakes”)
d) Dynamics (crescendo, diminuendo, accents, sectional contrast, strata)
e)
Phrasing delineation of different musical statements, intensity variation, “breathing”, feeling the form and melody
f) Articulation (legato, staccato, slurring, glissando, portamento, portato)
g) Style (historical integrity, capture of the “mood”)
h)
Stage presence (approach and departure, acknowledging applause, display of confidence, verbal expressions, mannerisms,
general appearance).
Technique
a)Embouchure
b)Tonguing
c)Bowing
d)Vibrato
e) Position, posture
f) Keyboard technique
g) Pedaling (organ, piano, harp)
h)Registration
i) Breathing, support
j) Intonation
k) Tone quality
l)Diction
Lesson Related
a) Number of lessons attended
b) Cooperation with teacher
c) Hours of practice and use made of practice time
d) Performance of music not on repertoire sheet but still under the coaching of the teacher, such as solos in church, solos in ensembles, accompaniment, etc.
Miscellaneous
a)Progress
b) Quality of accompanist’s performance
c) Sight reading
d) Techniques or exercises: scales, vocalize, etc.
e) Number of recitals in which you perform
f) Number of recitals and concerts attended
11
Jury Grading Scale
A
A-
B+
B
B-
C+
C
C-
D+
D
4
3.7
3.3
3
2.7
2.3
2
1.7
1.3
1
Concert and Recital Attendance
Philosophy of Attendance
Experiencing the energy of live performance without the
pressure of performing yourself is a wonderful way to
remind yourself of the power of music as well as provide you the opportunity to study the art of stage presence and the traditions of stage etiquette by observing
master performers such as those scheduled on the Fine
Arts Series concerts. Students who are serious about their
musical training will take every opportunity to enhance
their musicianship and support the music faculty and fellow students by attending recitals and ensemble concerts.
Discover music you haven’t heard before, and find inspiration to spend more productive time in the practice
room.
• Off-Campus Attendance: Concerts must be classical
in style, and you must submit a printed program to the
Music Office no later than 1 week following the program. Most off-campus concerts will receive 2 credits. (If you
have any questions about other concerts, speak with the
department chair.)
The majority of concerts attended should be chosen from
the “Calendar of Events” found on page ii and iii of this
handbook. The most-up-to-date list can be picked up
from the Music Office or you may go online to www.
puc.edu/music-events.
Etiquette for Recitals and Concerts
• Attire - dress as you would for church and in accordance with the PUC Handbook Dress Code
(see page 18).
All music majors who are taking courses relevant toward their Music degree must attend 7 classical concerts
each quarter. If you fail to attend the required number of
concerts, and do not check in and out with the attendance
taker you will be charged for your private lessons.
• Arrive at the concert on time and be seated before the
concert begins. If you are late, wait outside the auditorium until an appropriate break in the program when
applause is heard. Then please be seated quickly and
quietly toward the back of the auditorium.
How to Receive Credit
An attendance taker will be at most campus concerts.
You must check in and out in order to receive credit.
• Check in no later than 5 minutes after the start of the
program with the attendance taker in the lobby.
(Late arrival may prevent you from receiving credit).
• Stay for the entire concert/recital. (Leaving during the
concert and returning at the end will forfeit your right to
credit, and is dishonest).
• Check out with the attendance taker.
• Refrain from talking, whispering, rustling papers,
moving around, or leaving the auditorium during a performance to avoid interfering with the performer’s concentration or the attention of others in the audience listening to what is being presented.
• Avoid taking flash pictures during the performance,
especially if a person is performing by memory.
Types of Concerts That Qualify
• Music Department Concerts: You will receive one
credit for all concerts and recitals presented by the
department that you attend as an observer.
• Applaud only at the end of multi-movement works: if
you are unsure whether a piece is completed, wait until
someone more knowledgeable begins clapping.
• Ensemble Concerts That You Participate In: For concerts featuring ensembles that you participate in, you will
receive 1 credit for that ensemble per quarter, regardless
of how many times that ensemble performs (if you are in
multiple ensembles, you will receive 1 credit per quarter
for each ensemble you participate in).
• Help educate others (at appropriate times) about correct concert etiquette by example, writing a polite note
or speaking to them at breaks in the music. Music majors
are the ones who must educate the audiences of the future, so now is not too early to begin.
NOTE: Graduating seniors get an attendance waiver the
quarter they are registered for and perform their degree
recital.
• Evensong: You must submit a printed program signed
by one of the faculty to the Music Office no later than 1
week following the program.
• Other Concerts on Campus: Music Ed majors will receive 1 credit for attending ONE classical concert
from the following: PUC Prep, PUC Elementary school,
OR Paulin Center for the Creative Arts. If there is no attendance taker at the concert, submit to the Music Office,
a printed program signed by one of the faculty no later
than 1 week following the program.
12
Tests
Entrance Examinations
Skills Needed to Pass TPE
• Be able to recognize musical terms and sym- bols: identify notes in both treble and bass clefs,
fermata symbols, repeat signs, etc
• Know how to create major and minor scales (3 forms)
• Have an understanding of half and whole steps
• A basic understanding of rhythm: time
signatures, note and rest values
• Understanding of key signatures
• Circle of fifths
Theory Placement Examination (TPE)
Register for MUTH 121 and 121L (Theory I and lab). During the first two days of class, the TPE will be administered to determine if you have sufficient theoretical background to be successful in the Music Theory sequence. Students who do not pass will be encouraged to
drop MUTH 121 and take MUTH 103 (Fundamentals of
Music Theory) spring quarter in preparation for Theory I.
Piano Proficiency Test (PPT) Part I & II
To register for piano proficiency lessons come to
the Music Office and fill out a Change of Registration
Request form, obtain the appropriate MUSP 162 section
number, get the required signatures and return form to
the records office by the first Thursday of the quarter.
You will receive these lessons for free as long as you
practice at least 25 hours per quarter and record your
practice hours regularly. Should you fail to do this, or
if you receive a lesson grade lower than C-, you will be
charged $250 for that quarter’s lessons.
As a music major, a basic understanding of piano theory
and proficiency is invaluable in reinforcing concepts of
music theory, for accompanying students at lessons, for
reading musical scores, for expressing musical concepts
to others, and for use in church and community services. The state of California requires functional keyboard
skills of music teachers for certification.
This piano proficiency test is administered at the first
meeting of Theory I Lab (MUTH 121L). If you do not
pass this exam, you are required to take piano lessons
until the exam is passed. If you do not pass by the end of
the sophomore year you may not be promoted into upper
division (UD) lessons in your major instrument, and must
continue to take piano lessons until you pass.
A.S. or B.S. students who wish to continue with piano
lessons after passing the PPT may register for MUSP
162, and will be charged $125 per credit hour per
quarter.
B.Mus. students may continue with piano lessons as a
secondary instrument (MUSP 386) at no charge.
PPT Part II (B.S. & B.Mus. music majors)
This part of the exam tests more advanced piano skills
and must be passed by all B.S. and B.Mus. music majors (see #1-8 below under Skills Needed to Pass).
PPT Part I (A.S., B.S., & B.Mus. music majors)
This part of the exam tests your basic piano skills, and
must be passed by all music majors (see #1-4 below
under Skills Needed to Pass).
Skills Needed to Pass
PPT I
1. Major and Minor Scales: playing hands separately at a moderate tempo for one octave, ascending and descending.
2. Sight read a simple two-hand, two-part piece.
3. Be prepared to play five 4-part hymns (selected by your teacher if you are taking lessons).
4. Show ability to harmonize a simple given melody.
PPT II
5. All Major and Minor Scales: playing hands separately for two octaves, ascending and descending.
6. Prepared Repertoire: similar in style and difficulty as:
a) Bach, Prelude No. 1 in C Major (WTC I)
b) Minuet in G Minor, from Anna Magdalena Bach Book
c) Mozart, Minuet in F, K.2
d) Schumann, First Loss (Album for the Young)
13
- continued...
7. Show ability to improvise off a chord chart.
8. Sight reading hymns: to be performed at a slow, steady tempo, similar in style and difficulty to:
a) “My Maker and My King”, SDA Hymnal #15
b) “When I Survey the Wondrous Cross”, SDA Hymnal #154
c) “Gleams of the Golden Morning”, SDA Hymnal #205
d) “Before Jehovah’s Awful Throne”, SDA Hymnal #82
Exit Interview
Listening Exams
MFT Test
At the beginning of the quarter a list of pieces from a particular genre (or genres) will be posted on CANVAS. You
are expected to listen to and become familiar enough with
these pieces so that you can identify the pieces and list the
associated composers at an exam given at the end of the
quarter. Your score will be posted on CANVAS under the
Listening Exam assignment.
During the last quarter before graduation all music majors are required to do an exit interview with the department chair during which time they will also take a short
exit survey. The purpose of this interview is to provide
an official opportunity for the student and chair to discuss what elements of the curriculum were successful
and which (from the student’s perspective) could be
reviewed or adjusted. Both the survey, which will be
placed in the student’s file, and the exit interview will
help the department assess its success in helping the student reach the student learning outcomes.
All music majors who are taking any courses relevant toward their music degree must take this exam each quarter
they are in residence. Students have the opportunity to
learn and study music that is part of the standard repertoire of classical music. For some of you, this music will
be familiar. For others, it may open a whole new world of
music you have never heard before.
The Major Field Test is required of all 4-year music majors in order to graduate, and is proctored by the Counseling Center. Please take this test very seriously. You
will be required to take it near the beginning of your last
quarter before graduation. You will receive notification
about when and where you should take the test at least a
week or two ahead of time, but the college calendar also
shows the dates it is given each quarter. The graduation
analyst will not approve your graduation until this test
has been taken. Results for this test are often useful for
entrance into graduate school, and future employers may
also be interested if you share the results with them.
Bachelor degree students are expected to pass 10 out of
12 exams.
Associate of Science degree students are expected to pass
5 out of 6 exams.
If you do not pass the listening exam you may be
charged $125 for your lessons.
GNST 401
The quarter you are doing a degree recital or student
teaching you are exempt from taking the listening exam.
All graduating seniors from PUC are required to take
GNST 401 - Senior Assessment Seminar. This class
meets weekly for two hours and fifteen minutes during
spring quarter, and is a requirement for graduation.
Quarterly Report
At the end of each quarter you will receive a report that lists the requirements you have fulfilled, as well as charges that will be applied to your
school bill, and which course number in performance studies to register for
next quarter. It will be e-mailed to you shortly after the end of the quarter. Please read the report carefully, and notify the office manager of any
inconsistencies.
14
Portfolio
The portfolio is required of all B.S. and B. Mus. students.
The purpose of the portfolio is twofold: 1) It gives you the opportunity to track your progress as a musician
and to develop tools that will help you when you apply for a job. 2) It provides a useful assessment measure
for the department so we can see how we can grow and improve as a department. As such, at your last portfolio evaluation, the department will examine it according to the portfolio rubric below. It is expected that for
each element in the rubric, 80% of the students will have a rating of “Adequate Evidence” or higher.
Your portfolio will be started during your first year as a music major and should be posted on CANVAS under
your name/ePortfolios. Students will meet with the department chair before midterms, Spring quarter to
review their portfolio and examine their progress as musicians and music majors. Your portfolio grade is tied
to your senior recital and GNST 401 grades, and must be completed by the beginning of dead week of your
last quarter.
The portfolio should contain the following information (there is no set format-just create something you can
be proud of):
• A statement of purpose—ie: here is why I am a musician and choose to study music. This may change over the course of four years.
• Curriculum Vitae:
o List of studio teachers you have studied with.
o Festivals or music related seminars you have participated in.
o Any master classes you have performed in (list the visiting teacher).
o List of recitals you performed on and ensemble concerts and other venues you’ve soloed in
(if applicable).
o Skills you have honed (Finale, music technology, skills in orchestration, etc.)
o Music related jobs you have held—paid or unpaid (ensemble librarian, set-up crew,
administrative helper, grader/reader, etc.)
o Awards
o Repertoire studied (optional but strongly recommended).
A convenient time to update this is when you fill out your Jury/Repertoire Sheet each quarter.
• At least one example of your best work from each year in residence.
• Audio or audio visual clips of your performances (optional).
• A short bio (to be used in concert programs).
• Any program notes you write for the recitals you do.
• Your musical resume (optional but recommended).
Sample Rubric 1: Portfolio Rubric for B.S. Majors
• Demonstrate a level of competence as a solo and
ensemble performer appropriate for a musician
educated in the liberal arts. (SLO Rubric 1)
Insufficient
Evidence
Adequate
Evidence
Strong Evidence
Very Strong
Evidence
• Apply specific knowledge in
• music theory
Insufficient
Evidence
Adequate
Evidence
Strong Evidence
Very Strong
Evidence
• Think, speak, and write clearly and effectively about music. (SLO Rubric 2)
Insufficient
Evidence
Adequate
Evidence
Strong Evidence
Very Strong
Evidence
• Utilize foundational skills in current technology in
music notation and synthesis. (SLO Rubric 4)
Insufficient
Evidence
Adequate
Evidence
Strong Evidence
Very Strong
Evidence
• music history
• conducting
relevant to a musician educated in the liberal arts.
(SLO Rubrics 2 and 3)
15
Recitals
(Download various forms from CANVAS. See inside front cover of this handbook for instructions)
Why Have Recitals?
The Music Department encourages every music student
to share music with others at least once during each quarter of lessons, no matter how simple the music. It is a
good way to get to know and support each other. Also,
it helps you to adapt (through repetition) to the stress of
performing in public. There are a number of different
kinds of recitals: general student recitals (GSRs), junior
degree, senior degree, and solo recitals. Whichever kind
you give, your participation must be recommended by
your teacher and scheduling approved by the faculty.
All B.S. and B.Mus. music majors will present a senior
degree recital of music chosen in consultation with your
teacher. Senior recitals should be given during the last
quarter of study with your teacher. This recital is juried. You may submit the Recital Program Repertoire form
in place the Rep Sheet. NOTE: Graduating seniors get a
concert attendance waiver the quarter they are registered
for and perform their degree recital.
B.S. Senior Project
Register for MUED 489
B.S. music majors may petition the faculty to do a Senior
Project instead of a senior recital. This project may take
a variety of forms, and must be selected in consultation
with your teacher.
General Student Recitals (GSR)
GSRs provide an opportunity for you to share your musical performance ability with others, and to “practice”
performing in public. Most music majors will perform
on these recitals once each quarter. Fill out the forms:
Rep Sheet & General Student Recital Information
Turn these forms in via e-mail to music@puc.edu at least
a week before the recital. You may do 2 juries per year
at a GSR with your teacher’s permission but will still
need to do a formal jury once a year.
Joint or Special Recitals
At some point, you (alone or with others) may decide to
present a recital just for fun. Such non-required recitals
need to be arranged through your teacher and the Music
Department. You might, for example, wish to attempt to
win the Certificate of Achievement (page 29). You would
then give a recital each of your four years here at PUC.
Or you might be invited to participate on a special recital
presented by some of the more advanced students or department teachers. Then again, perhaps you might wish
to present a recital just for the pure joy of sharing your
music with all of us.
Associate Degree and Non-degree Recitals
Register for MUSP 289 • 15 minute recital
All A.S. music majors are required to complete an Associate degree recital. This recital should be given during
your last quarter of study with your teacher, and must
include at least 15 minutes of music chosen in consultation with your teacher. This recital is juried. You may
submit the Recital Program Repertoire form in place the
Rep Sheet. NOTE: Graduating A.S. majors get a concert
attendance waiver the quarter they are registered for and
perform their degree recital.
Degree Recital Grades
At the completion of your degree recital (A.S. junior or
senior recital) the Music faculty will assign a grade based
on the Music Performance Rubric on page 45. They will
also write brief comments about your recital, which will
be placed in your permanent file in the Music Office. You
may discuss them with your teacher shortly after your
recital. (Junior and joint recitals are juried performances
and therefore, comments will be processed as usual.
B.S. music majors wishing to receive credit for a nondegree recital may register for this course: MUSP 289.
Junior Degree Recitals (B.Mus. Performance only)
Register for MUSP 390 • 30 minute recital
All B.Mus. Performance music majors will present a junior degree recital. This recital must include at least 30
minutes of music chosen in consultation with your teacher. This recital is juried. You may submit the Recital
Program Repertoire form in place the Rep Sheet.
Senior Degree Recitals (B.S. and B.Mus. Ed.)
Register for MUSP 489
•
30 minute recital
(B.Mus. Perf.)
Register for MUSP 490
• 1 hour recital)
Repertoire/Performance Classes
Not for credit performance classes in various instruments
and voice are scheduled each quarter as part of your performance studies (private lessons). These classes provide
opportunities for practice in performing under low-stress
situations in preparation for recitals and juries, and for
peer feedback. Teachers provide instruction in performance techniques, stage manners and appropriate attire. While these classes are not for credit, individual teachers
may require attendance.
16
- continued...
Planning for Your Recital
Except for repertoire/performance classes and general
student recitals, you will need to do certain things besides practicing, to prepare for your recital. You will
find the Solo or Joint Recital Guide (pages 19-20 in this
handbook and on CANVAS under Files-Music MajorsFORMS) helpful in planning your recital. It contains
step-by-step instructions for preparing the appropriate
forms and what to do when.
• Ushers & Doors: The entrance doors to the recital
hall make noise when opened or closed. Arrange with
a teacher to decide which to lock and which to have unlocked with the crash bar dogged down for quieter operation. You should arrange for at least two of your music major friends to serve as ushers. Inform them to let
people enter only at breaks between pieces.
• Decorations: If you have stage decorations, be sure
they are removed and that the stage and lobby are left
in good condition when the recital is over. (See pages
38-39 of this handbook for auditorium and lobby usage
guidelines). You are responsible to delegate clean-up after your recital.
• Printed Programs: All programs must be printed by
the Department of Music in the standard departmental
format. Be sure all your information is approved by your
teacher and to the music office one week before your recital. You may submit a high resolution photo or graphic
(JPG) for the front of your program.
• Piano, Harpsichord, etc.: Decide with your teacher
which instruments you will need and arrange for them to
be in the proper place for your use. Afterward, be sure
they are returned to their original places if necessary.
• Program Assistants & Accompanists: You will need
to ask friends and fellow music majors to assist you with
various roles such as stage set-up, raising and lowering
the piano, moving stands and chairs, etc. Any timeconsuming set-up and take-down (such as curtains) is to
be provided by your assistants. The department will not
pay student employees to assist in recitals. It is certainly
appropriate for you to provide a gift of appreciation to
your assistants and accompanists. All those assisting you
should dress appropriately, usually in black, and in accordance with the PUC Student Handbook (see page 18).
• Reception & Coordinator: The Department of Music
does not generally provide receptions for student recitals.
We will provide a table and the use of the kitchenette if
you would like to arrange a reception yourself. Make
the reception arrangements with your teacher, choose a
coordinator and contact the Music Office to check out a
kitchenette key. (See pages 41 for guidelines and cleaning instructions).
• PA, Microphones and Lights: The department provides a PA technician to operate the lights, microphone
and audio recording for your recital. Be prepared to let
the technician know your lighting and mic needs at least
24 hours before your recital. Using one of your printed
programs, clearly indicate where you want lights turned
up and down, and mics adjusted. Keep in mind, the technician is not available to act as a stage hand or usher.
• Rehearsal: In order to familiarize yourself with the
auditorium instruments and acoustics you are guaranteed a minimum of 4 hours of practice time in the auditorium in preparation for your recital. More hours may
be scheduled if the auditorium is available. Sign up for
specific time slots at the music office. Also, make arrangements for placement of instruments, stands, chairs,
etc. If you practice just before your recital, remember to
finish practicing at least 20 minutes before your recital
begins to give your audience time to enter the hall.
• Recording: The Department of Music will audio record your recital for our file. You may request a copy,
however, the CD is not for public distribution and may
not be copied or shared in any form, mechanical (real
CD) or digitally.
• Conduct: Your recital should be performed in a professional manner. Acknowledge your audience in a gracious way on your first bow. If the applause continues,
your return to the stage should be midway to the center
of the stage. If applause still continues, include your accompanist and those who have assisted you in your recital.
You may video record your recital at your own expense.
You may find your own videographer or Media Services
can do it for you (the cost will be put on your school bill).
It is suggested that the video recording be a fixed recording to keep the costs and distractions during your recital
down. Notify the Music Office and approval will be sent
to Media Services. They will contact you for specifics.
- continued...
17
• Intermission: It is not our custom to have an intermission. Exceptions to this practice are made when the
program is longer than one hour and/or the performance
needs costumes or prop changes. After a very taxing
piece or group of pieces, you can leave the stage for a
short period (two or three minutes).
• Attire: Your recital attire should be selected in consultation with your studio teacher, and in accordance with
the Attire guidelines below and the PUC Student Handbook Dress Code. Page turners, ushers and stagehands,
whether on or off stage, are expected to dress appropriately in black. Consult the department chair if you have
any questions.
• Encores: You may prepare an encore with your teacher’s approval to be performed if it seems appropriate.
Attire Guidelines for Recital and Concert Attendees
Dressing appropriately and modestly when attending recitals and concerts is appropriate and respectful. Coming to a
musical event dressed in sweat pants, and a tank top is not appropriate attendance attire. (See the DRESS CODE below).
Attire Guidelines for Recital Performers
Women
For GSRs: dresses and skirts should be modest and cover the knees when seated. Any slits in the skirt should end at the
knee when seated. Slacks should be loose fitting. Shoulders should be covered.
For Formal Recitals: Tea-length skirts or longer are strongly recommended. Slits in the skirt should end at the knee when
seated. Tops should cover the shoulders, and bodice in a modest fashion. No revealing, low-cut attire.
Men
For GSRs: Long sleeve shirt with tie and dress pants (like church clothes) are expected.
For Formal Recitals: A coat and tie are appropriate for formal recitals. Pants should not be tight fitting. Tuxedos are
optional.
DRESS CODE (From PUC Student Handbook)
The College’s dress policy guidelines follow biblical goals of modesty and simplicity. Students are encouraged to wear clothing appropriate to the occasion.
Shoes and sandals should be worn outside residence hall and in residence hall chapels and lobbies. Logos, pictures and working on
clothes should be in harmony with Seventh-day Adventist principles.
The College encourages students to respect the Adventist tradition of dressing “jewelry free” as a sign of respecting the Adventist subculture. Dressing “jewelry free” at PUC is not a matter of morality, but rather a part of the Adventist heritage of simplicity.
Furthermore, modesty should be one’s guide in determining appropriate attire. Tight-fitting garments and revealing clothes are not considered appropriate for on-campus attire. Swimming and sports are all encouraged at PUC, but again, let modesty be your guide when
choosing something to wear to the field or the pool.
Shorts (near the top of the knee) are fine in any location on campus except in the church sanctuary and the Dining Commons during Sabbath hours.
- continued...
18
Pacific Union College Music Department
Solo or Joint Recital Guide
Preparing for your Recital
Name ___________________________________________________ Audition Date___________________________
Type of recital:
Senior
Junior
A.S. Other: ________________________________
Recital Date ____________________________
All recital forms may be found on CANVAS and must be downloaded, filled out on your computer and returned via
e-mail to the office manager and your teacher.
#1
Recital and Audition Date Request (Interactive PDF)
#2
Recital Program Repertoire
(WORD document)
#3
Recital Program Notes (WORD document)
#4
Repertoire Sheet (Interactive PDF)
#5
Recital Biography & Thank You (WORD document)
1
Instructions for filling out on-line PDFs: You must have Adobe Reader on your computer to properly save and enter
information in this interactive PDF. You can download Adobe Reader for free by going to http://get.adobe.com/reader/
Log in to CANVAS
- On the left side of the window select Files – Music Majors – FORMS
- Click on the form you want. The document will be donwloaded to your computer and open.
(You should see a purple box at the top indicating that you can save data into this form).
- Enter your information.
- Save As... and enter your last name at the beginning of the file name. It is suggested that you save the file to your desktop so it is easy to locate.
- E-mail to: music@puc.edu and to your teacher.
At least 3 months before your recital consult with your teacher about a recital date and what repertoire you will perform
on your recital. Check the master calendar in the Music Office for possible recital and audition dates, and download
and fill out form #1 Recital and Audition Date Request and e-mail to the Music Office for your request to be presented
to the faculty for approval.
Attire: Start thinking about what you will wear at your recital. Recital attire should be selected in consultation with
your studio teacher. There are catalogues in the Music Office that you can take a look at.
Women - Tea-length skirts or longer are strongly recommended. Slits in the skirt should end at the knee when seated.
Tops should cover the shoulders (no spaghetti straps), and bodice in a modest fashion. No revealing, low-cut attire.
Men - A coat and tie are appropriate for formal recitals. Pants should not be tight fitting. Tuxedos are optional.
2 At least 1 week before your scheduled audition (which must be at least 1 month before your recital) prepare the
Recital Program Repertoire form #2 listing the works to be performed on your recital.
Fill out the form in consultation with your teacher, than e-mail to music@puc.edu. The Music Office must receive your form before your audition date so the form can be prepared for the audition committee who will refer to it dur-
ing your audition. This document is the basis for your printed program, and must be submitted again with changes just before your recital.
Hold your audition before the faculty and be prepared to present your entire recital, including all works to be performed
by you and other artists. Upon faculty approval of your audition, your recital date will be confirmed.
19
– continued...
Building Usage Guidelines: Refer to the Auditorium & Lobby Usage Guidelines on pages 36-37, and the Kitchenette
Usage Guidelines on pages 38-89 (obtain extra copies for your assistants from the Music Office as well). You are responsible for making sure the facility is left clean and organized.
Arrange for Assistants (fellow music majors or friends) to fulfill the following roles:
• Stagehand: Instruct your stagehand how you want the stage set up, how/when to raise and lower the piano lid, place/remove music stands, move instruments or chairs, etc.
• Ushers: to monitor doors to minimize noise.
• Visual recording technician: Contact the Music Office to arrange for Media Services to record your recital at
your expense, or find your own videographer.
• Reception coordinator: Make sure this person has a copy of the Kitchenette Usage Guidelines and delegate persons to clean up after the reception.
• Accompanist: Arrange this well in advance of your recital, as the accompanist’s music is often hard to learn. Remember to properly acknowledge him/her during and at the conclusion of your performance. It is also ap propriate to provide a gift of appreciation to your accompanist after the event.
Rehearsal Time: Arrange rehearsal time in the auditorium with the Music Office.
3 At lease 2 weeks before your recital submit program notes:
4
- Recital Program Notes
• Download the form from CANVAS-Files-Music Majors-FORMS. Type all information as it will
appear in the printed program. Typically, program notes take up front and back of a half sheet
of paper inserted in the program. If you have translations, more pages may be required, and your pro-
gram may be printed in a booklet format. Work with your teacher to create program notes that are
worded professionally and aren’t accidently plagiarized.
• Have your teacher approve notes then upload to CANVAS, Assignment Tab.
At least 1 week before your recital, submit via e-mail, the following electronic forms to music@puc.edu:
- Repertoire Sheet form #4 listing all the pieces you have been working on over the quarter.
- Resubmit your Recital Program Repertoire form #2 with all changes as it will appear on printed program.
Be sure to specify FINAL in the title of your document.
- Recital Program Biography & Thank You
- You may submit a high-resolution jpg picture of yourself if you want it on the cover of your program.
Note: All information for the printed program must be discussed with your teacher for approval before submitting to the office.
20
09-15
Ensembles
All majors must be in a large (primary) ensemble that utilizes their major instrument each quarter in residence with the
following exceptions:
• A.S. majors are required to be in a large ensemble every quarter they are taking classes toward their music degree.
• B.Mus. Ed. majors do not have to be in a large ensemble during their student-teaching quarter. Additional ensemble requirements for B.Mus. Ed majors are as follows:
• 3 quarters of choral ensemble
• 3 quarters of instrumental ensemble
• 1 quarter small ensemble in their major area
MUEN 100 courses are lower division LD (Freshman and Sophomore)
MUEN 300 courses are upper division UD (Junior and Senior)
Primary Ensembles
All ensembles are open to both music majors and cross-campus students and are typically auditioned. See page 7 of this handbook for audition guidelines.
The following ensembles satisfy the music major large-ensemble requirement:
Chorale (MUEN 161 or 361) TTH • 12:00 - 12:50 pm • Room #132
Bruce Rasmussen, Director – ext. 6623
A large mixed chorus studying repertoire from a large range of styles and periods. Usually performs one large
musical composition with orchestra each year. Auditions held each quarter, but membership is preferred for
the complete year. (All voice majors need to register for both Chorale and I Cantori each quarter).
I Cantori (MUEN 154 or 354) MW • 8:00-9:30 p.m. • Room #132
Bruce Rasmussen, Choral Director – ext. 6623
An SATB choral ensemble which studies literature from a variety of styles and periods. Performance opportunities include off-campus tours. Auditions are held at the beginning of fall quarter only. Students in I Cantori must register for Chorale. (All voice majors need to register for both Chorale and I Cantori each quarter).
Orchestra (MUEN 156 or 356) TTH • 8:00-9:30 p.m. • Room #144
Rachelle Davis, Director – ext. 6655
An orchestra for advanced string, wind and brass players that performs concerts each quarter, and often collaborates with soloists and other ensembles, both on and off campus.
Symphonic Wind Ensemble (MUEN 155 or 355) MWF • 12:00 - 12:50 pm • Room #144
Asher Raboy, Director – ext. 7137
PUC’s “band” for advanced instrumentalists who perform a wide variety of music in various settings. Tours
and workshops have occurred on an alternate-year basis. Members are selected by audition.
Keyboard Ensemble (MUEN 159 or 359) By Arrangement
Lynn Wheeler, Director – ext. 7323
Beginning and advanced ensembles. Duets, duos, and large groups, sometimes with voices or other instruments. Both acoustic and electronic instruments used. Placement based upon auditions.
Guitar Ensemble (MUEN 170 or 370) By Arrangement
Jon Mendle, Director - ext. 6651
Beginning and advanced ensembles. Duets, trios, and large groups. Placement based upon auditions. May
apply to half of the large ensemble requirements for guitar majors.
21
Other Ensembles
Gospel Choir-Directed Group Study (MUEN 296) By Arrangement
DeBrina Williams, Director
A comprehensive survey of sacred music from African-American worship experiences. Students meet regularly to enhance the skills that are specifically germane to vocal gospel music production. A variety of repertoire and styles are chosen at the conductor’s discretion, commensurate with the group’s ability to meet
the objectives of the course including performance opportunities which are incorporated to assist students in
reaching a comprehensive and interactive aesthetic experience.
Handbell Choir (MUEN 186 or 386) By Arrangement • Room #108
Rosalie Rasmussen, Director – ext. 6627
Beginning and advanced ensemble open to any student with music reading skills (by audition only).
Performances quarterly both on and off campus.
Introductory String Ensemble (MUEN 150 or 350) By Arrangement • Room #144
Linda Marks, Director - ext. 6204
Beginning and intermediate string players perform music appropriate to the level of the group. Focus is on
developing technique, musicianship and ensemble skills. By audition.
The following ensembles are dependent on student interest and teacher availability:
MUEN 150 or 360
Introductory String Ensemble
MUEN 157 or 357
String and Piano Chamber Music
MUEN 160 or 360
Jazz Ensemble
MUEN 170 or 370
Guitar Ensemble
MUEN 175 or 375
Flute Quartet
MUEN 178 or 378
Saxophone Quartet
MUEN 179 or 379
Woodwind Quintet
MUEN 180 or 380
Brass Quintet
MUEN 181 or 381
Brass Ensemble
MUEN 182 or 382
Trombone Choir
MUEN 184 or 384
String Quartet
Registering for Ensemble Credit
To register for an ensemble, go to WebAdvisor, log in and add the course. If you are a freshman or a sophomore, register
for an MUEN course in the 100’s; and if you are a junior or a senior, register for one in the 300’s. Then be sure to audition within the first week of classes in order to ensure your place in the ensemble, or so that you can drop the course and
add a different one in case you do not pass the audition.
Ensemble Overload Fee Waiver Request
If being in an ensemble expands your class load to 18 hours or more, obtain an Ensemble Overload Fee Waiver Request
form (yellow half-sheet from the Music Office) within the first two weeks of each quarter, have the ensemble director
sign it, and return it to the Music Office. The waiver will be processed mid-quarter and submitted to the Student Finance
office. A credit will show up on your account statement for the overload fee.
Audition Process to Join an Ensemble (see 23).
22
Audition Process to Join an Ensemble
To Join an Instrumental Ensemble
Auditioning is a means by which we determine if you will be successful in the ensemble. While most people are accepted, auditioning does not guarantee admittance into the ensemble.
• At the beginning of the quarter sign up for an audition time outside the music office door. If your aud tion time is after the first rehearsal, come to the first rehearsal anyway.
• Come to your audition prepared to play a couple of pieces or excerpts that demonstrate your technical
ability as well as your musicality and expressivity. (If you have one piece/excerpt that demonstrates all aspects of your musicianship you don’t need more than that one piece.) Also be prepared to play a scale that demonstrates your range on the instrument and do some sight reading.
(If you don’t have a piece prepared but you still want to join an ensemble, come anyway and play something so we know what you can do with your instrument.)
• You will be notified by e-mail if you are accepted.
To Join a Vocal Ensemble
• Contact the Choral Director or stop by his office, Paulin Hall #135, to schedule an audition.
• The choral director will assess your vocal range and may have you sing a simple song.
• While most people are accepted, auditioning does not guarantee admittance into the ensemble.
23
Financial Information
Private Music Lesson Fees (based on nine 30-minute lessons)
Non-Music Major Private Lessons
Credit Lessons: MUSP 162/362 Non-Credit: $250
$350
Music Major Secondary Instrument
B. Mus. Ed.
MUSP 386 (fee waived)
B. Mus. Perf.
MUSP 386 (fee waived)
B.S.
MUSP 162 or 362 $125
A.S.
MUSP 162 $125
$125
Music Major All Non-Credit Lessons $250
Music Major Primary Instruments Fee waived if requirements are met (see pages 8-9)
Pre-Music Major Primary Instrument
(see page 9 for more information)
Music and Supplies Purchasing
The Music Department can supply you with any music or instrument supplies you need (with teacher approval). If the
music needs to be ordered it usually takes a week or so for it to arrive. The cost, plus tax is charged to your school account. Batons, metronomes and other limited supplies are available for purchase in the Music Office and may also be charged to
your school account.
Key Deposit
There is an automatic $25 key deposit for up to 4 keys checked out for lockers, practice rooms, lab, etc. If you need more
than 4 keys, the additional key deposit is $15 per key. The deposits are refundable if the keys are returned at the end of
spring quarter, or when you leave campus.
Refunds will be process the second week after the end of spring quarter.
Contact the Music Office for approval to keep your key(s) if you plan to stay over the summer.
Jobs for Students
(Contact the Office Manger to apply and for appropriate paperwork).
• Readers for teachers
• Ensemble Assistants: librarians, ensemble set-up/take-down, attendance taking, accompanying studio lessons,
accompanying for choir and other ensembles.
• Music Office assistants (putting up posters, assisting office manager in various office duties, etc.).
(Contact the office manager for an application)
• Paulin Center for the Creative Arts (PCCA) employs a number of student teachers. These jobs pay nearly double the amount of other on-campus jobs per hour. To qualify, one should first take the pedagogy or tech nique/methods course in the area in which you want to teach. Contact Rosalie Rasmussen, director of PCCA,
for more information and to set up an interview.
Musicians’ Health and Safety
The PUC Department of Music is required by the National Association of Schools of Music to inform students, faculty and
staff of the health and safety issues, hazards, and procedures inherent in music practice, performance, teaching and listening. The Department of Music has developed a Health and Safety Manual that is updated periodically to guard against
injury and illness in the study and practice of music. It is a maroon binder located in the office reception area. If you
find an article online or in a periodical that you think others will benefit from, you are welcome to submit it to the office
for inclusion in the manual.
YOU are the primary factor in your health and safety. You are personally responsible for avoiding risk and preventing
injuries to yourself before, during, and after study at PUC. The policies and procedures developed by the Department of
Music do not alter or cancel your individual, personal responsibility, or shift personal responsibility for the results of your
personal decisions or actions in any instance or over time to the college.
Post-Graduate Job Opportunities and Summer Internships
Periodically the department receives post-graduate job postings from various universities, colleges and schools, as well
as summer internship opportunities. You are welcome to peruse the blue binder in the office reception area if you are
interested.
24
Music Scholarships
Application Priority Deadline: March 2, 2016
The first round of applicants will be notified by April 1, 2016. If there are still scholarships available after the first round,
the department will review additional applicants until all scholarships are awarded.
How Current Music Majors May Apply
Send an e-mail request to music@puc.edu stating that you would like to be considered for a scholarship. Include your
name, degree, instrument you are studying and your PUC ID#. Application must be received by March 2, 2016 to be
included in the first round of awards. If a scholarship is awarded to you, a letter will be sent to you and you will need to
notify the Department of Music of your acceptance of the scholarship.
New Student Applicants
Go to www.puc.edu/scholarships and download the application, or request the application from the Department of Music
by sending an e-mail inquiry to music@puc.edu. Complete the application and e-mail it with the items listed below to
music@puc.edu. All application materials must be received by March 2, 2015 to be considered in the first round of scholarships awarded. All materials may be mailed if you prefer.
Items to prepare:
1. An essay explaining your interest in music and why you should receive a scholarship from the
Department of Music.
2. The names of 2 people we may contact for references. This would include your most recent music teacher and someone who knows your musical skills, such as a church music director or band director. Your refer- ences should not be anyone related to you.
3. A high quality video of your best solo performance (group performances will not be accepted). Submit your
recorded auction as MP4, YouTube file or you may mail a DVD with application and all materials listed here.
You may request a live audition if you are planning to be on campus.
Audition Guidelines
Be prepared to perform two or three pieces from the standard literature for your instrument or voice that demonstrates your
musicality and technical skill. Please select works that have contrasting styles - fast and technical; slow and lyrical. Each
piece should generally be by memory and be between 3 and 10 minutes each, with preference given to memorized works
(accompanist may use music).
You may audition in person or at one the College Days (call or e-mail the office to schedule the audition):
• February 8 & 9, 2016
• Academy Band Festival, February 24-26, 2016
• College Days: April 11 & 12, 2016 (This is after the priority deadline).
Available Scholarships
• Barbara (Coltrin) and Richard Lewis Music Scholarship Fund. Barbara Coltrin Lewis was involved in many musical
ensembles at PUC when she was a student in the early 1950’s. Available in all areas of music to both music majors and non music majors who desire to improve their talents.
• Patricia Loye Organ Scholarship. This endowed scholarship fund has been provided by Dr. Milo L. Loye and Patricia Block Loye. The purpose of the fund is to encourage young church organists. Proceeds from the scholarship fund are available to any student who study organ and desire to be a church organist.
• Albert Earl Mayes Music Ministry Scholarship. After graduating from PUC in 1954 with a music major, Albert E. Mayes served for many years as a voice/choral teacher in Southern California in academies and then at La Sierra College. He was one of the cofounders of the Adventist Church Musicians Guild. After his death, his wife bestowed this endowed scholarship to PUC in his memory to encourage serious young musicians who want to use their musical talents for the ministry of the SDA Church in a manner similar to his high ideals. This scholarship is available primarily to vocal or organ music majors dedicated to music ministry in the SDA church.
• Edward Charles (Teddy) Mackett Endowment for Students in Brass Music. Ted Mackett graduated from PUC with a B.S. in Music in 1992. He was a fine horn major and enjoyed performing in the various instrumental ensembles including the Symphonic Wind Ensemble, the Brass Ensemble, and the Woodwind Quintet. Because of his love for brass music, his family set up this endowed scholarship fund in his name after his sudden death in November 1995. Available to any brass student.
• Creative Arts Scholarships: Five renewable awards, available to new, incoming PUC students, of up to $3000; participation in a music department performance group required.
25
PAULIN HALL FACILITIES AND INSTRUMENTS
Paulin Hall
The music building was named for Noah E. Paulin who
taught music at PUC, and was the Music Department
chairman from 1914-1944. Built in 1966, Paulin Hall
contains a fine auditorium, 13 teaching studios, rehearsal
facilities for choral and instrumental ensembles, 18 practice rooms, libraries, a main office and workroom, and a
student lounge.
Choral Rehearsal Hall (Room #132)
Used for choir practices and larger classes such as
Survey of Music. The piano is not for general practice
and is locked when not in use. The use of this room by
permission of Bruce Rasmussen.
Instrumental Rehearsal Hall (Room #144)
This is the rehearsal space for Orchestra, Symphonic
Wind Ensemble, and various other ensembles, as well
as a meeting area for several music education courses.
The piano is not for general practice. No food or drink
allowed (a closed water bottle is alright) without permission of ensemble directors. The use of this room by
permission of Asher Raboy.
Paulin Hall Building Hours
Sunday • 9 am - 11 pm
Monday - Thursday • 6:30 - 11 pm
Friday • 6:30 - SUNSET
(The building is not open for practicing
Friday night or Saturday)
Handbells Room (Room #108)
Beginning and Advanced Handbell Choirs. The use of
this room is by permission of Rosalie Rasmussen.
The person entrusted with the responsibility of closing
the building has the authority to clear the building, so
your cooperation is expected and appreciated.
Theory Room (Room #201)
The main Theory classroom, but also used for other
classes such as music history and literature courses. The
use of this room is by permission of the chair or office
manager.
Auditorium / Recital Hall
The auditorium provides an acoustic venue for presentations of concerts and recitals, and seats over 400. It
may be used for practice for an upcoming recital by permission from the faculty or office manager. The grand
piano on the stage is not for general practice and is locked
when not in use.
Piano Classroom (Room #202)
Contains 8 acoustic upright pianos, and some other electronic keyboards. Some string groups and other classes
may also meet in this room. The use of this room is by
permission of the chair or office manager.
Lobby
With its crystal chandeliers, wide lobby and patio looking
out to the fountain, the lobby of Paulin Hall was designed
as a showcase for the campus. Please do not move furniture. Help keep the lobby a clean, wide-open space as it
was intended.
Computer Technology Lab (Room #204)
The music computer lab is intended for music majors to
use when composing, notating, synthesizing and editing music, as well as completing theory and ear training homework. Users of the computer lab must obtain
department approval and sign the Computer Lab Usage
Rules (see page 37) when obtaining a key. Absolutely no
food or drink in the computer lab (a closed water bottle
is alright). Failure to comply with these rules may forfeit
your privilege of using the lab. Dropbox.com is utilized
as a storage location for your files.
Music Office (Room 103)
Supervised by the office manager with the assistance
of students, the office is a place where an unbelievable
amount of work is done. It is a great source of information on just about everything.
Office Hours
Monday & Wednesday
10:00 am - 12:00 noon • 1:00 pm - 5:00 pm
Nelson Memorial Music Library
Most library materials for students are located in the Nelson Memorial Library. Books on music, CD’s, videos, scores, and LP’s are in the open stacks. Tuesday & Thursday
1:00 pm - 5:00 pm
Friday
10:00 a.m. - 1:00 p.m.
Paulin Hall Music Libraries
• Piano Pedagogy Library: Room #110. This library
contains piano teaching materials which are available
for music students and area teachers to peruse. Music can be checked out only for short-term use until a
resale copy can be obtained. (Rosalie Rasmussen)
Seminar Room (Room #104) is used for faculty meetings, committee meetings and small classes.
26
continued...
• Choral Library: Room #134 (Bruce Rasmussen)
• Wind Ensemble Library: Room #146 (Asher Raboy)
• Orchestra and Chamber Music Library: Room #115
(Rachelle Davis)
Student Lounge
Room #120 is a place students can get together to study
or hang out. Thank you for keeping the lounge an inviting place by placing trash in proper receptacles and
generally cleaning up after yourself. You are expected to
use the lounge in an appropriate manner representative
of Christian standards — PDA, partying, etc. are NOT
acceptable activities.
Cello Closet
This closet is located in the hall next to the Band lockers
and is appropriate for storing cellos and double basses.
Obtain a key from the Music Office.
Practice Room Lockers
These lockers, located on the first and second floors on
the east side of the building are provided for storing music and instruments for students using the practice rooms.
Obtain a key from the Music Office (deposit will be applied to your school bill - see page 24 for fees.). At the
end of the year, clean out your locker and return the key to
the office to receive a refund. If you are staying over the
summer you must notify the office manager for permission to leave your instrument and retain your key (a refund will not be given for keys retained over the summer).
Kitchenette
Room #139 is the small kitchenette which may be used
in preparing food for recital receptions or other events.
You must obtain permission from the office manager
to use the kitchenette. Please leave the kitchenette clean
and orderly when you are finished. (See pages 40-41 for
Kitchenette Usage Guidelines).
The Music Department is not responsible for items
stolen out of lockers.
Bulletin Boards
Bulletin boards are located throughout the building to display information specifically for music students such as
concert information, Bay Area musical events, competitions and various other music-related fliers and posters.
Practice Rooms
The practice rooms are provided for the use of music
students pursing legitimate music practice. All but two
practice rooms are to remain locked. Users of the locked
practice rooms must obtain department permission and
sign the Practice Room Usage Policy when obtaining a
key from the Music Office. Absolutely no food or drink
(a closed water bottle is alright) in the practice room.
Failure to comply with the policy may forfeit your privilege of using the locked practice rooms. (There is a copy
of the policy on page 36 of this handbook).
Instruments
• About 25 grand pianos
• About 25 upright pianos
• 2 electronic pianos
• 2 practice pipe organs
• Casavant organ in the Auditorium (48 ranks)
• 4 harpsichords
• A five-octave set of handbells.
• Rieger Concert pipe organ (85 ranks)
in the Church Sanctuary for organ students.
• Several orchestra and band instruments are available for use by members of these ensembles and/or
students taking private lessons who might not have their
own instruments. Contact the Symphonic Wind Ensemble director for availability and go to the Music Office to
fill out an Instrument Usage Agreement. The instruments
may not be removed from Paulin Hall without faculty
approval.
Food and Drink
Absolutely no food or drink of any kind is allowed in
practice rooms, auditorium, computer lab or near instruments (a closed water bottle is alright). Any person who
violates this rule may forfeit the privilege of using the
facilities of the Department of Music.
Rehearsal Hall Lockers
These lockers located on the west side of the building
are provided for storing instruments primarily used by
Orchestra and Symphonic Wind Ensemble personnel. There are different sizes to accommodate various instruments. Obtain a key from the Music Office (deposit will
be applied to your school bill - see page 24 for fees.).
At the end of the year, clean out your locker and return
the key to the office to receive a refund. If you are staying over the summer you must notify the office manager
for permission to leave your instrument and retain your
key (a refund will not be given for keys retained over the
summer).
Please note:
Because the building is not sound-proofed, no electronic
instruments or drum kits may be used in Paulin Hall
without Music Department approval.
27
PAULIN CENTER FOR THE CREATIVE ARTS (PCCA)
This innovative music instruction program is designed
especially for the developing musician through private
lessons and group classes for students of all ages. Established in 1984, PCCA has enriched thousands of young
people and adults alike in their musical endeavors. A
qualified staff of instructors continues the tradition of in-
spiring the community through their knowledge and expertise in the arts. PCCA also provides excellent opportunities for advanced music students to hone their teaching
skills. Contact Rosalie Rasmussen, the director of PCCA
if you are interested in teaching. You must complete
Theory I and Pedagogy before teaching.
The MUSIC Club is PUC’s premier music club with membership open to any student or faculty member who wishes to
join. The MUSIC Club encourages artistic, educational, social, and spiritual involvement in a wide range of music-related activities, including, but not limited to Friday evening supper-worships in faculty homes, Sunday breakfasts, sharing
music in nursing homes, beach trips, reduced tickets for off-campus events such as San Francisco Symphony concerts,
and participation in club fund raisers such as Fall Festival, etc.
Be sure to join this club and help keep it active.
MUSIC Club Officers for 2014 - 2015
PresidentEmilio Rovalino
Executive VP Bethany Costa Social VP
Michael Kuo Religious VPRoslyin Simanungkalit
Treasurer *
Emily Miller
Publicity Secretary * Secretary *
Ruthie Holmes
HistorianBetsy Billington
Freshman Representative
Freshman Representative
Faculty Sponsor
Rachelle Berthelsen Davis
Faculty Sponsor
Lynn Wheeler
MUSIC Club Officers for 2015 - 2016
President
Executive VP Social VP Religious VP
Treasurer *
Publicity Secretary * Secretary *
Historian
Freshman Representative
Freshman Representative
Faculty Sponsor
Rachelle Berthelsen Davis
Faculty Sponsor
Lynn Wheeler
* Positions may be filled by non-majors.
28
HONORS AND SOCIAL GROUPS
Certificate of Achievement
This award is given to music majors who present a recital (or have an important solo role in a major work or ensemble) of
especially high quality for each of the four years enrolled at PUC. During your final quarter, the performance teacher can
recommend you for this award to the music faculty who will then consider the request.
Pi Kappa Lambda
The Society of Pi Kappa Lambda is the only college honor society in music, and is so recognized by its membership in the
Association of College Honor Societies. Since its establishment more than seventy years ago, Pi Kappa Lambda has consistently adhered to the principles of its founders in honoring scholarship, musicianship, and personal character.
Pacific Union College joined Pi Kappa Lambda on May 9, 1995, when Dr. Robert Blocker, currently Dean of the School of
Music at Yale University, came to our campus for the charter ceremony of our Theta Zeta Chapter.
Fewer than two hundred colleges and universities nationwide have ever been approved for membership in
Pi Kappa Lambda, and Pacific Union College was only the ninth to join in the state of California.
A student membership in the society requires that the student be outstanding in scholarly achievement and musicianship, provided that the student will have been in residence the equivalent of at least six quarters prior to graduation, and ranks not lower
than the highest twenty percent of the senior music class as determined by GPA. The music faculty would like to challenge
you to your highest possible achievements. If you reach the standard set by Pi Kappa Lambda Society, we will honor you with
a lifetime membership. Hopefully your name will be listed below in the near future!
Theta Zeta Charter Members
Charter Members
1. Del W. Case
* James A. Kempster
* W. James McGee
2. Kenneth A. Narducci
3. LeRoy H. Peterson
* C. Lynn Wheeler
Elected Members
4. Lois A. Case
5. Melva Wright Cummings
6. Aileen James
7. Ivylyn Traver
8. Audrey B. Wargo
9. George W. Wargo
10. Glenda Lee Abilgaard
11. Rachelle Berthelsen Davis
12. Terry Lynn Buchmiller, M.D.
13. Karen Kortzeborn Carle
14. Faith Yeung Choi
15. Winston Robert Dennis III
16. Jennifer Muir Goss
17. Norman L. Goss
18. Wayne Richard Harrison
19. Duane Elwin Hilliard
20. Carol L. Kutsch
21. Julia Meller Narducci
22. Taylor David Ruhl
23. Robert Phil Thornton
24. Emily S. Perdy
25. Annemarie E. Fanselau
26. Roy E. Gane
27. Carol Lynn St. Clair
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28. Evelyn Edwina Wallace
29. † Herbert Thorson Blomstedt
30. Gennevieve Brown Kibble
31. Melody Lynn Ragsdale
32. Roger Sohn
33. Gayle Luanne Chinnock
34. David Ralph Castro
35. Jamie Helen Joe
36. Dennis Lee Ballard
37. Breezy Lyn Brehm
38. Jennifer Kate Janssen
39. Jonathan Wilmer Hechanova
40. Welby Joseph Lo
41. Bren Matthew Chun
42. Lisa Aimee Hechanova
43. Jennifer Leigh Cress
44. Glenda Rosalie Rasmussen
45. Judy M. Tinker
46. Hee Young Park
47. Karlton Keller
48. Darrin Christopher Thurber
49. John Robert F. Osio
50. Asher Raboy
51. Matthew Reeves
52. Hanbit Ha
53. Heidi Rasmussen
54. Timothy Rasmussen
55. Namiko Nagayama
56. Lindsey Henning
57. Rachel Veszpeller 58. YOU !!!
* Members inducted at other universities
† Honorary Member
FACULTY AND STAFF
Dr. Richard Aldag
Ph.D, City University of New York
Graduate Center
Teaches Survey of Music.
(since 2013)
Room #207, ext. 6654
raldag@puc.edu
Matthew Boyles
M.Mus., Temple University,
Boyer College of Music
Teaches clarinet.
(since 2013)
Room # 205, ext. 6204
mabolyes@puc.edu
Richard Aldag has had a varied career
as composer, educator and arts administrator. He holds a Ph.D. in Music from
the City University of New York Graduate Center, where he
studied with leading composers, theorists, and musicologists.
He has received commissions from the Shanghai Symphony
Orchestra, the Queens Symphony’s “Sounds from the Left
Bank,” Trio Versailles, Earplay, and the San Francisco Chamber Orchestra. Aldag has served on the faculties of the San
José State University School of Music and Dance, the Fordham
University, and the Brooklyn Conservatory of Music. In addition to his work as composer and educator, Aldag has held
administrative positions that include Executive Director of the
Napa Valley Symphony; Lincoln Theater Napa Valley; and San
Francisco Chamber Orchestra.
Matthew Boyles maintains an active
professional life in the San Francisco
Bay Area performing with a number
of orchestras and chamber music groups and also educating
in the North Bay. He is the clarinetist in the Vinifera Trio that
performs a wide array of programs along the west coast. Matt
enjoys teaching all levels of music from kindergarten to college at several private and public schools and at Pacific Union
College. Before moving to the west coast, he was an active professional clarinetist in the Philadelphia area. Upon completing
his Master’s Degree in 2011 at Temple University, he continued to perform with groups across the Northeast, including the
New Haven Symphony Orchestra in Connecticut, performing
Mahler’s 8th Symphony at Carnegie Hall in New York City, and
as a substitute musician with the Philadelphia Orchestra. While
working on his Bachelor’s Degree at the University of Cincinnati in Ohio, he performed with various ensembles in the area
including the Louisville Symphony Orchestra and the Cincinnati Chamber Orchestra.
Dr. Glenda Bates
PhD., University of Maryland
Teaches Jazz Ensemble.
(since 2013)
Room #144, ext. 201
gdbates@puc.edu
Joel Cohen
B.Mus., University of Western Ontario-London, Ontario, Canada
Glenda Bates is a multi-faceted musician, performer, and teacher whose
specialties include chamber music,
orchestral repertoire, jazz, historical
performance, and contemporary classical works for oboe and
English horn. An advocate of “right now” music, Bates has
premiered over a dozen works by living composers. As an avid
early music enthusiast, she plays the Baroque oboe, most recently performing with the American Bach Soloists Academy
& Festival in 2014. Bates values the importance of improvisation in developing personal voice and expression in music
performance, and practices both free improvisation and jazz
improvisation. In addition to playing jazz oboe, she is an accomplished jazz vocalist and vibraphonist. Bates is currently
an oboist in Symphony Napa Valley, the Silicon Valley Philharmonic, and freelances throughout the San Francisco Bay Area,
and is the Jazz Ensemble director and adjunct professor at Pacific Union College. Bates is a Doctoral Candidate at Stony
Brook University. She earned her Master’s in Music from the
University of Maryland, and her Bachelor’s degree from the
University of South Carolina.
Teaches cello
(since 2014)
Room # 205, ext. 6205
jcohen@puc.edu
Joel Cohen received his
bachelor of music with
honours in Performance, pedagogy and chamber music from
the University of Western Ontario - London, Ontario, Canada. He has studied with Irene Sharp and Margaret Rowell as well
abroad in Canada and Holland. He has played with the Oakland Symphony, the Vienna Chamber Orchestra under Philippe
Entremont, the Wiener Kammeroper, the Wiener Akademie (on
period instruments) and Quartett Yggdasil, as well as the Vienna Radio Symphony. He was also a member of the Johann
Strauss Festival Orchestra, performing in Austria and around
the world, including Germany, Japan, Argentina and Brazil. He
has played and taught in the Boston area, performing with various orchestras and chamber music groups, including the Boston
Symphony Orchestra, the National Lyric Opera, the Rhode Island Philharmonic, the Landmarks Orchestra, and the Leonora
Quartet. He is a founding member of the award nominated
Quartet San Francisco, and performs extensively in the Mendocino County. He has played recitals in Mexico with PUC
Alumnus, Elena Casanova, and performed the Brahms Double,
Elgar and Tchaikovsky concertos with several local orchestras.
He will perform Tchaikovsky’s Rococo Variations again with
the Echo Chamber Orchestra in San Anselmo, CA in October
2015. Joel is currently on the faculties of Humbold State University and here at PUC where he teaches cello.
Dr. Charles V. Bell
Ph.D., Stanford University.
Teaches oboe and English Horn.
(since 1984)
Room #107, ext. 6204
cbell@puc.edu
Dr. Bell received his Ph.D. in Electrical
Engineering from Stanford University.
He studied clarinet with Kalman Bloch,
oboe and English horn with Don Muggeridge and Roger Garside, and attended master classes with
Ray Still and Thomas Stacy. Dr. Bell has played with numerous orchestras and ensembles and was principal oboist with the
Walla Walla Symphony. He was the Dean of the School of
Engineering at Walla Walla College before coming to PUC in
1984 where he served as Vice-President for Academic Administration at PUC from 1984-99. He has three sons, Michael,
Carey and David (PUC Business Administration professor).
Dr. Rachelle Berthelsen Davis
D.M.A., University of Texas at Austin.
Directs orchestra and teaches violin,
music history, and violin pedagogy.
(since 2003)
Teaching Studio Room #205, ext. 6214
Office #102, ext 6655
rdavis@puc.edu
30
Dr. Davis holds degrees from the University of Texas at Austin (D.M.A.), Indiana
University, Bloomington (M.M.), and Pacific Union College
(B.S.). She is the Music Department Chair and teaches violin,
continued...
chamber music, music history, and violin pedagogy, and is the
director of the Pacific Union College Orchestra. Prior to moving to California, Davis was the concertmaster and assistant director for the New England Symphonic Ensemble, the resident
orchestra for Mid-America Productions at Carnegie Hall, New
York City. In this position, she frequently performed under the
baton of the renowned composer/conductor John Rutter. As
soloist, concertmaster and chamber musician, Davis has toured
Europe, the Middle East, South Africa, China, and Southeast
Asia—as well as the United States, Canada, Mexico, and the
Caribbean. She has held positions on the faculties of Indiana
University String Academy, the University of Texas String
Project, and as an assistant professor at Columbia Union College (now Washington Adventist University) in Takoma Park,
Maryland. While Davis is primarily a classical violinist and
violist, she also enjoys improvising and exploring alternate
styles of music such as jazz and Texas style swing. She and her
husband, Kent Davis (PUC Chemistry Department professor),
have two sons.
Trumpet Artist and Clinician: Bobby Shew. Pete has also studied trumpet privately with Raymond Mase, John Henes, Mark
Inouye, Jeff Biancalana, Louis Hanzlik, Mike Vax, Greg Hopkins, Tony Lujan, Paul Fontaine, John Cappola, Warren Gale,
Jeff Stout, Scott Fessler, Rick Winslow, John Pearson, and Steve
Braet. He teaches or has taught at Sonoma State University, Santa Rosa Junior College, Napa Valley College, and has been active as a Jazz Brass, and Trumpet Clinician and private teacher
for 26 years. He has authored 15 jazz trumpet solo transcription
books and transcribed over 400 jazz tunes and arrangements.
For the past 23 years, Pete has also been the Racetrack Bugler
on the Northern California Fair Circuit, and has worked as a
musician for several cruise ship lines.
Anita Cavagnaro Ford
A.S., Pacific Union College.
Teaches piano.
(since 1984)
Room #206, ext. 6628
hford@puc.edu
James Deitz
M.Mus., Yale School of Music
Teaches percussion.
(since 2013)
Room #144, ext. 6201
deitzmarimba @gmail.com
Mrs. Ford studied piano with Egon Petri
and Alexander Libermann at Mills College. She presented solo recitals in the
Bay Area, and appeared as a soloist with the Young People’s
Symphony in concert and on radio. Mrs. Ford received her A.S.
in Piano Pedagogy degree at PUC. She taught classroom music
and private lessons at the Crescenta-Canada SDA Union School
(Southern California) and has maintained a private studio for
over 50 years. She has been teaching piano through PCCA since
its inception in 1984. Mrs. Ford and her husband, Herb have
three daughters, Jana, Cynthia and Alyssa.
James Michael Deitz, percussionist,
performs in a variety of musical areas,
including large ensemble, solo, and
chamber settings. He has performed
throughout the United States, as well as Europe and Asia. Mr.
Deitz made his concerto debut with the Philadelphia Orchestra
in 2003 and made his Carnegie Hall debut performing Martin Bresnick’s double marimba concerto, Grace, with Robert
van Sice. He also made concerto appearances with the Bulgarian National Radio Symphony Orchestra and the Orchestra of
St. Peter by the Sea. As an educator, Deitz has taught at The
Academy—a program of Carnegie Hall, The Juilliard School,
and The Weill Music Institute in partnership with the New York
City Department of Education. In addition, as a teaching assistant pursuing post-graduate study at the University of Miami,
he taught undergraduate students and percussion methods. Mr.
Deitz worked with Jean-Pierre Drouet, the forerunner of the
theatrical percussion art form, at Centre Acanthes. Major composers he has worked with include Georges Aperghis, Peter Eotvos, Christopher Rouse, and Steve Reich. Deitz has received
degrees from the Curtis Institute of Music and the Yale School
of Music and recorded for New Amsterdam Records, Equilibrium, and CAG Records.
Sadie Glass
M.Mus., University of Illinois at
Urbana-Champaign
Teaches horn.
(since 2013)
Room #144, ext. 6201
saglass@puc.edu
Hornist, Sadie Glass, is committed to
creating unique musical experiences as
a performer and educator. She is an active freelance musician in
the San Francisco Bay Area and is a Teaching Artist within her
community. As a versatile and accomplished musician, Glass
is pursuing a career in early music, performing on both the baroque and natural horns, and was a featured soloist and chamber
musician. Glass is a member of the Symphony Napa Valley, and
is a substitute with several ensembles, including the Santa Rosa
Symphony, Monterey Symphony, and the Berkeley Symphony.
In the past, she has played in the Champaign-Urbana Symphony
Orchestra and the Central Wisconsin Symphony Orchestra and
as a period instrument specialist, Glass has been a substitute
with the period ensemble, Mercury. Currently, Glass is on faculty at the Pacific Union College as an adjunct horn professor
and provides applied lessons to horn and trumpet majors, coaches the PUC horn quartet, and teaches the brass performance
class. Within the community, Glass is involved in outreach work
teaching at Salvador Elementary, Napa Valley Language Academy, Napa Valley Youth Symphony, Napa County Preschools,
Napa Valley Performing Arts Center, and as a private instructor.
Glass completed a Master of Music degree at the University of
Illinois at Urbana-Champaign and graduated summa cum laude
with a Bachelor’s degree in music performance from University
of Wisconsin Stevens Point.
Linda Dunbar
Office Manager
(since 2007)
Room #103, ext. 6201
lldunbar@puc.edu
Linda studied graphics arts, photography and office administration at Pacific
Union College, and has worked in various capacities on the PUC campus since
1985. She enjoys playing the piano, photography, scrapbooking and history. She has one adult son.
Pete Estabrook
M.F.A., California Institute of the Arts. Teaches trumpet.
(since 2009)
Room #136, ext. 6651
peter.estabrook@att.net
Mr. Estabrook received a Bachelor of
Music Degree in Professional Music
from Berklee College, and a Master of
Fine arts Degree in Jazz Studies from California Institute for
the Arts. He is a student of internationally recognized Yamaha
31
Steve Halbe
B.A., San Francisco State University
Teaches woodwind instruments.
(since 2012)
Room #207, ext. 6654
halbe.sah@comcast.net
Kristin Lloyd
M.Mus., University of Michigan at
Ann Arbor, Moore School of Music.
Teaches harp.
(since 2013)
Room #112, ext. 6201
krlloyd@puc.edu
Mr. Halbe has been an active professional musician and teacher in the San
Francisco Bay Area for five decades.
As an on-call musician throughout this
period, his musical assignments were varied: theater orchestra,
convention productions, regional symphonic orchestras, hotel
and private party engagements, Lake Tahoe casinos, recording
experiences, “big” bands, circuses and local park bands. A few
of the many notable performers in these assignments include
Maria Alderghetti, Sergio Franco, Anton Coppola, Al Martino,
Andy Williams, Tony Bennett, Henry Mancini, and Josephine
Baker. Along the way, Mr. Halbe’s important mentors were
Philip Bovero, Ludwig Toepfer, Charles Travis, Bernard Portney, John de Lancie, and Jacob Krachmalnick. Mr. Halbe retired from public school teaching in 1996: a career of 32 years
which included elementary, middle school, and high school assignments.
Kristin Lloyd, harpist is passionate
about both performance and teaching.
She has performed in a wide array of
orchestral, solo, and chamber music
concerts, and is actively engaged in music outreach and education. Ms. Lloyd completed her Master of Music Performance
degree in harp at the University of Michigan, and she received
her Bachelor of Music degree, Magna cum Laude, from the
Shepherd School of Music at Rice University. In addition to
playing in the orchestras at these universities, she has performed
with a number of professional orchestras, including Symphony
Napa Valley, the Woodlands Symphony and the Owensboro
Symphony Orchestra. She also has extensive teaching experience and is currently a teaching artist with Music for Minors, a
program that brings music instructors into elementary schools
that would not otherwise be able to provide music classes.
Auriel Helmer
B.Mus. Ed., Pacific Union College.
Teaches piano and harp through PCCA.
(since 2011)
Room #211, ext. 6203
amhelmer@puc.edu
Linda Marks
B.Mus., Pacific Union College.
Teaches viola and violin.
(since 2011)
Room #107, ext. 6204
lkmarks@puc.edu
Auriel Helmer received her B.Mus.
in Education from Pacific Union College. She has studied piano with Ruth
Andrieux, and Rosalie Rasmussen; and
harp with Melissa Urquhart and Frances Fanelli. It is her desire to share her musical knowledge with students of all ages.
Ms. Helmer is the Elementary music teacher at Napa Christian
Campus of Education.
Linda Marks has been teaching in the
Napa Valley for over a decade and has a
wide experience as a teacher, performer
and ensemble director. Linda has been a
member of the San Francisco Symphony Youth Orchestra, Ukiah Symphony Orchestra and the Philharmonia Healdsburg and
has studied at the Cleveland Institute of Music and the Aspen
Music Festival and School. She graduated with a Bachelors of
Music from Pacific Union College and currently teaches at Pacific Union College, Rio Lindo Adventist Academy and Paulin
Center for the Creative Arts.
Jennifer Hunt
M.Mus., Hartt School, University of
Hartford
Teaches flute through PCCA.
(Since 2013)
Room #136, ext. 6651
jennyhunt@gmail.com
Jon Mendle
M.Mus., San Francisco Conservatory
of Music
Teaches guitar.
(since 2012)
Room #136, ext. 6651
jmendle@puc.edu
Flutist Jennifer Hunt pursues a versatile
musical life as a passionate performer
and educator. She is adjunct flute professor at Pacific Union College and a teaching artist at Salvador
Elementary School, and has taught at Napa Valley Language
Academy. She has played flute and piccolo with the Russian
National Orchestra, Hartford Opera Theater, Montana Lyric
Opera, and Symphony Napa Valley and has been featured on
NPR. Ms. Hunt has worked to incorporate performing arts into
education at schools in Peru and on the Flathead Indian Reservation in Montana. She received her BM from the University of
Montana-Missoula and her MM from The Hartt School. While
she is primarily classically trained, Jennifer also has experience playing jazz, bluegrass, Irish, Peruvian and American folk
music. She enjoys gardening, cooking, traveling, and spending time outdoors. She offers private lessons for both flute and
beginning-intermediate piano for students of all ages.
Since making his Carnegie Hall debut at
age 19, Jon is rapidly building a career as
a performer, teacher, arranger, and composer. He has gone on tour with Yo-Yo Ma and the Silk Road
Ensemble, and released his first album, “L’Infidele” to critical
acclaim. Jon studied with Lawrence Ferrara, Marc Teicholz,
David Tanenbaum, and Dusan Bogdanovic. He has participated
in master classes, and won the San Francisco Conservatory of
Music’s biennial Guitar Concerto Competition, playing Heitor
Villa-Lobos’ Concerto for Guitar and Small Orchestra. He has
performed this work with The Oakland East Bay Symphony,
The Bay Area Rainbow Symphony, and The San Francisco
Conservatory of Music Orchestra. Jon’s solo repertoire includes works from periods ranging from the Renaissance to the
contemporary era, with an emphasis on lesser-known baroque
lute works. He has arranged works by composers such as Kapsberger, Zamboni, and Falckenhagen, who are virtually unknown
outside the lute world, as well as more familiar works by Bach,
Weiss, Ravek, Debussy, and Hovhaness. He has also studied
the classical music of North India with Ustad Ali Akbar Khan at
the Ali Akbar College of Music in San Rafael, California, and
privately with sarod player Steve Oda.
32
LeRoy Peterson
M.Mus., Peabody Conservatory of
Music. Emeritus. Teaches strings and World Music.
(since 1983)
Room #203, ext. 6626
lpeterso@puc.edu
John Milholland
Teaches trombone, Euphonium,
brass.
(since 1997)
Room #144, ext. 7150 Facilities Man.
jmilholland@puc.edu
As PUC’s brass specialist, John leads the
Trombone Choir and Brass Quintet, and
teaches private lessons in various brass
instruments. He has guest conducted the
Symphonic Wind Ensemble and other groups. He is employed
at PUC Facilities Management.
Mr. Peterson was born in Canada, but grew
up in Singapore as the son of missionary
parents and here began his studies in violin.
After his debut at 14, he went to the Geneva
Conservatory in Switzerland to study. At 16, he performed with
the National Symphony in Washington, D.C. He received his
M. Mus. and Artist Diploma at the Peabody Conservatory of
Johns Hopkins University. He taught for three years at Pioneer
Valley Academy and taught 15 years at Andrews University before coming to PUC in 1983. Peterson has visited 35 countries
and performed in most of them, including nine trips to Russia,
working in evangelism and performing. Aside from playing in
Carnegie Hall and Town Hall in New York City, he has appeared
on television and radio as soloist with orchestras in Washington,
D.C., Baltimore, Singapore, Michigan, N.Y. City, California,
Ohio, Russia and the Ukraine. Chapel Records recorded him
on six different albums, and he has been featured in the international Strad Magazine. Peterson has been a contest winner in
badminton and bodybuilding and has received several awards in
violin performance and painting. He and his wife Carol have
two children, Shelley and Todd, and three grandchildren. LeRoy continues to perform, teach World Music and Culture at
PUC and give violin lessons.
Dr. Edwin Moore
PhD., Claremont Graduate University
Music Department Acting Chair
(since 2015)
Edwin Moore is currently the acting chair
of the Music Department. He also holds
the position of Associate Academic Dean
for Pacific Union College. After graduating from PUC, Dr. Moore obtained a
Master’s degree in English as a Second
Language from the University of Hawaii, and subsequently
worked both in the U.S. and abroad as a teacher and administrator. He returned to PUC in 1996, serving as director of the ESL
program within the English Department. In 2004 he moved into
academic administration and later completed a Ph.D. degree in
Education. While Dr. Moore has no particular claim to musical
fame or expertise, he does have a keen desire to see the Music
Department realize its potential for enhancing music appreciation and developing the talents of others.
Asher Raboy
M.F.A., Carnegie-Mellon University.
Conductor of the PUC Symphonic Wind
Ensemble. Teaches Music Technology,
Composition, Counterpoint.
(since 2008)
Room #145, ext. 7137
araboy@puc.edu.
Rachel Patrick
M.Mus., Indiana University, Jacobs
School of Music
Teaches violin and chamber music.
(since 2013)
Room #205, ext. 6204
racpatrick@puc.edu
Mr. Raboy has a M.F.A. degree from
Carnegie-Mellon University and a Bachelor of Arts in Music from the State University of New York at
Binghamton. He writes orchestral compositions and has studied
with Leonardo Balada and Ezra Laderman, and studied conducting with Robert Page, Istvan Jaray, and Peyton Hibbitt. He was
Music Director of the Napa Valley Symphony from 1990-2010,
and assisted with conducting for the Diablo Ballet, Santa Rosa
Symphony, Hudson Valley Philharmonic, Binghamton Symphony, and Tri-Cities Opera Company and more. He has lectured
for the New York Philharmonic and worked as staff writer for
the Putman funds of Boston. Mr. Raboy directs the PUC Symphonic Wind Ensemble and teaches various classes in theory,
composition and history. He enjoys racquetball, cooking, and
chess, and lives in Napa with his wife, Katy Raboy.
Violinist Rachel Patrick leads a versatile musical life as both a performer
and teaching artist/educator. She has
taken part in successful concert tours of Europe, Asia and North
America, including a benefit concert for the Harlem School for
Strings in Carnegie Weill Recital Hall. Ms. Patrick has performed as soloist with orchestras across the United States and
Europe, most recently with the Schleswig-Holstein Festival
Orchestra for the German premier of Tan Dun’s “Hero” Concerto. Fall of 2014 will bring performances of Kevin Puts’ Violin
Concerto with a number of orchestras across the U.S. She has
presented solo and chamber music recitals on four continents,
recently completing a tour of Asia with one of her trios, Nu Expressions. She has recorded chamber music and solo CDs for
the Enharmonic, Crystal and Albany labels and is a series artist
for the Classicopia, Amici Music and Music in the Vineyards
chamber music series. Ms. Patrick is also a dedicated orchestral
musician. Most recently, she held the post of concertmaster with
the Schleswig-Holstein Festival Orchestra from 2009-2013 and
served as guest concertmaster with many other ensembles. A
dedicated teacher, she is currently a teaching artist with two El
Sistema programs in the Napa and Sonoma Valleys and maintains an active private studio. She completed a Bachelor of
Music degree at the University of Michigan and completed a
Master of Music degree at the Indiana University Jacobs School
of Music, serving as an Associate Instructor in violin.
Bruce Rasmussen
M.Mus., Andrews University.
Directs choral ensembles, teaches voice,
organ and choral conducting.
(since 2005)
Room #110, ext.
brasmussen@puc.edu
Mr. Rasmussen received his Bachelor’s
(Music Ed.Vocal/Choral/Organ) and
Masters (M. in Organ Performance) degrees from Andrews University. He comes with a wealth of
experience on the secondary and collegiate levels as a music
teacher at Wisconsin Academy, Great Lakes Adventist Academy, Greater Lansing Adventist School, Walla Walla College,
and Southern Adventist University. His choirs have performed
with critical acclaim throughout the United States and Canada;
and are known through recordings and live performances for
their expressive and powerful presentations of diverse choral litcontinued...
33
ica, and the B.Mus. from Walla Walla College. He studied with
Bruce Ashton, Blythe Owen, Francis Bittner, Stewart Gordon,
and Leon Fleischer. He has concertized extensively throughout
the United States and in several foreign countries. He has been
listed in Who’s Who Among Students in American Colleges and
Universities, the International Who’s Who in Music and Musicians Directory, American Keyboard Artists, and Who’s Who in
Entertainment.
He is a past president of the Napa Branch of the Music Teachers’ Association of California (MTAC) and of District 7 of the
California Association of Professional Music Teachers (CAPMT). He is also current chair of the local branch audition center
for the Piano Guild; and in 2001 was inducted into the Hall of
Fame, Piano Guild, USA. He is an accreditation visitor for the
National Association of Schools of Music. He has taught at Columbia Union College, Portland Adventist Academy, and Campion Academy. He has been at PUC since 1971 and teaches piano, music history, and theory classes. Dr. Wheeler and his wife
Charlaine have one daughter, Charlynn, and a granddaughter.
erature. He studied conducting with Charles Smith, Jonathan
Reed, Donald Neuen, James Hanson, Zvonimir Hacko and
Harold Lickey. Primary voice teachers include Ethyl Armeling, Paul Hartfield, James Hanson and Louise Larmon. He
has studied organ with C. Warren Becker, William Ness, Gary
Klemp and Phillip Gehring. Mr. Rasmussen has performed
as recitalist in Washington, Wisconsin, Illinois, Michigan and
Ontario. He is in demand as a choral clinician and vocal pedagogue. A member of American Choral Director’s Association, American Guild of Organists and Pi Kappa Lambda, Mr.
Rasmussen is recipient of a distinguished service award, and
the Thomas and Violet Zapara award for excellence in teaching. His passions include the development of Collegiate and
High School voices, Church Music, Art Song and Lieder of
18-20th century and organ/choral music of the 19th and 20th centuries. Other interests are woodworking and stained glass. He
currently serves PUC as Director of Chorale and I Cantori, and
College Organist. He and his wife Rosalie have three children:
Kristii, Heidi, and Timothy.
Dr. Eve-Anne Wilkes
D.M.A., West Virginia University
Teaches voice
(since 2015)
Room #205, ext. 6204
ewilkes@napavalley.edu
Heidi Rasmussen
B.Mus., Pacific Union College.
Teaches violin, piano and Theory lab.
(since 2006)
Room #107, ext. 6204
hlrasmussen@puc.edu
Dr. Wilkes holds a Doctor of Musical
Arts Degree in Vocal Pedagogy and Literature from West Virginia University,
with her Master of Arts (emphasis in vocal pedagogy) and her Bachelor of Science Degree in Music
Education from The Ohio State University. She was a professor
of voice at West Virginia University, Memphis State University,
(Tennessee), and Otterbein College, (Ohio). She is a long-time
member of the National Association of Teachers of Singing,
along with the American Choral Director’s Association and
Chorus America. She has toured abroad, and has had an extensive and diverse performing career including a wide variety of
musical genre: opera, oratorio, musical theatre, solo recital, and
cabaret. Dr. Eve-Anne Wilkes teaches voice classes, directs the
College Chorale and is the Musical Director for the musical theater productions at Napa Valley College. She also administers
the Napa Valley College’s new Applied Music program. She
has led numerous international performance tours for the NVC
Singers including tours to Germany, Austria, the Czech Republic, Spain, Scotland, England, Canada, and Japan, and has just
completed their most recent tour to Italy (June 2014).
Ms. Rasmussen holds a bachelor’s degree in music education from Pacific
Union College, specializing in the vocal/choral areas. She is a superb vocalist, violinist and a fine organist, and enjoys seeing students
make progress in their musical abilities and develop a greater
enjoyment of music. She currently teaches band and strings at
Foothills Adventist School and teaches violin, piano and voice
for PUC and PCCA.
Rosalie Rasmussen
M.Mus., Andrews University.
Director of Paulin Center for the
Creative Arts (PCCA).
Teaches piano, handbells, music
education and piano pedagogy.
(since 2005)
Room #105, ext. 6627
rrasmussen@puc.edu
Mrs. Rasmussen received her B.Mus.
and M.Mus. degrees in keyboard education from Andrews
University. Additional music education classwork was done
at Walla Walla College. Primary piano professors were Elaine
Taylor, Sandra Camp and Leonard Richter; organ professors
Warren Becker and William Ness. Her music teaching encompasses a wide range of various ensembles, classroom music, music methods and general music classes at Walla Walla
College, Southern Adventist University, Wisconsin Academy,
Great Lakes Academy, Milton Stateline Elementary School,
Greater Lansing Adventist School, and A.W. Spalding Elementary School. She has also enjoyed church music involvement
as organist-choral director in a number of denominations. She
is currently director of Paulin Center for the Creative Arts
(PCCA), teaches music education, piano, piano pedagogy, and
conducts the handbell choirs at PUC. She and her husband
Bruce have three children: Kristii, Heidi, and Timothy.
DeBrina Williams
Teaches Gospel Choir.
(since 2013)
dbforshort@gmail.com
Emeritus Professors:
Del W. Case, D.M.A., Emeritus, organ, voice.
James Kempster, D.M.A., Emeritus, voice.
James McGee, Ph.D., Emeritus, piano.
James Mercer, Ph.D., Emeritus, voice.
Dr. Lynn Wheeler
D.M.A., University of Oregon.
Teaches piano, keyboard literature,
and music theory.
(since 1971)
Room #106, ext. 7323
lwheeler@puc.edu
Dr. Wheeler received his D.M.A. from
the University of Oregon, the M.Mus.
from The Catholic University of Amer-
34
A BRIEF HISTORY
The PUC Music Department was founded in the early 1900’s by Professor Noah Paulin, whose portrait you
see in the main lobby. Other likenesses of the department’s first chair may pop up here and there around
Paulin Hall as well. The first graduation program to list graduates in music appeared in 1913 when Ethel Osbune Colvin and Hilda Paap Davison were awarded diplomas in Pianoforte. Until 1930 most music students
earned certificates in specific instruments (pianoforte, vocal, pipe organ, or violin) alone with their Normal
Degrees. The Bachelor of Arts in music was awarded to Cecilia Voth in 1930, and the first Master of Arts in
music was earned by John David Holder in 1965.
PUC became a member of the National Association of School of Music in 1970, and joined Pi Kappa Lambda
in 1995. This past June, the 456th degree in music was awarded.
Music Department Chairs
Noah Paulin1914-1944
Hal Miller
1944-1945
Milo Hill
1945-1946
Sterling Gernet1946-1952
John Hafner1952-1955
Gilmour McDonald
1955-1957
Warren Becker 1957-1958
Vernon Nye1958-1959
George Wargo 1959-1969
Melvin Hill
1969-1973
James Kempster
1973-1978
Carlyle Manous
1978-1980
James McGee 1980-1986
Lynn Wheeler 1986-2010
Rachelle Berthelsen Davis
2010-2015
Edwin Moore (Acting) 2015-Present
Paulin Hall - way back when.
Now the English Department & Alice Holst Theater
35
Pacific Union College Department of Music
Practice Room Usage Policy
The practice rooms are provided for the use of music students pursuing legitimate music endeavors. It is a privilege to
use a practice room and users are expected to use the rooms for their intended purpose.
All Music Majors and select other music students may check out a key for the quarter or school year (a $50 key deposit
will be charged to your school bill). Please follow these guidelines to help keep our practice rooms secure.
• 2 rooms #127 & #222 - remain unlocked for the use of legitimate music practice whenever the building is open. • 8 rooms reserved for music majors - locked at all times: #114*, 213, 214, 226, 227, 228, 229 & 230. *Reserved for advanced piano students.
• 1 room reserved for PCCA students or those studying double bass or cello: #116 by special permission.
• 6 rooms for general use - key holder must lock door when not in use: #215, 218, 219, 223, 224, 225
These rooms remain unlocked after you open them, unless you intentionally lock them. Get into the habit of
locking the door immediately after you open the door. Please be diligent about this in order to maintain security.
• There are 2 locked practice rooms with electronic pianos for the use of students who need to work one hand at
a time with recording.
• Contact the organ teacher for authorization and scheduling of the organ practice rooms. Keys for the organ practice
rooms and Sanctuary organ can be obtained from the Office Manager ($50 key deposit charged to your school bill). Scheduling for the Sanctuary organ is arranged through the PUC Church office and the organ teacher.
• When you are done using a room, turn out the light and pull the door closed firmly to make sure it is latched.
• All practice rooms are reserved for music practicing only. You are expected to behave in an appropriate manner
representative of Christian standards. The rooms are not to be used for studying, having parties with friends,
activities with the lights out, etc.
• No food or drink in practice rooms (a closed water bottle is OK, but it must not be placed on the piano).
• Anyone needing to practice who does not have a key must check in at the office and they will be let into a room.
• A Monitor will patrol the rooms randomly.
Failure to use the rooms for their intended purpose will result in your key privilege being revoked.
I accept the responsibility of keeping the practice rooms secure and using them appropriately.
Date _______________________________________________
Print Name _________________________________________
Signature ___________________________________________
09-15
36
Pacific Union College Music Department
Computer Lab Usage Policy
The use of the PUC Department of Music Computer Lab is a privilege. It is free to current music majors, current music
faculty (full-time or adjuncts), and students currently enrolled in one of the two technology courses offered by the
Department of Music. Only these students will be given a key to the lab ($50 key deposit charged to student bill).
For music alumni, students who have completed the courses but are not longer enrolled in them, and for community
members who are approved by the department, the lab must be reserved through the Music Office for a fee:
$25 per hour - access to software.
$40 per hour additional fee if recording is part of the project
- Recording can be done only during times set aside specifically for recording.
- A music department representative must be present during all recordings. He/she may be used as a recording engineer or as an observer. The representative will make sure that the rules surrounding the lab are adhered to and that all equipment is returned to its original state.
Please observe these rules to help keep the lab running efficiently for all users. Failure to comply with this policy may
forfeit your privilege of using the lab.
• Users must obtain approval from the Music Office, and will be given a key to the lab. No students
without keys to the lab should be in the lab, and no students without keys should be using the
computers or other equipment in the lab unless assisting authorized users with musical projects.
• The Computer Lab is for authorized students working on ligament music projects.
It is not for movie watching, surfing the web, using social media, partying, dining, sleeping, or any
other non-music activity.
• No Food and drink allowed in the lab. The lab is a work area, not a dining area.
• Cubase keys are to be locked in the lockbox when not in use.
Do not leave them in the computers, or take them out of the computer lab.
• No equipment may be taken from the lab, including but not limited to, license keys for Cubase,
microphones, keyboards or computers.
• Computers and all electronics are to be turned off when you are through.
Even if you think you are coming back after an hour, please turn off equipment.
• Turn off air-conditioner when exiting.
• Reservation of the computer lab for recording purposes must be made 24 hours in advance, through the Music Office. No unauthorized posting of signs that keep others out of the lab.
If the Music Office is closed, you may send an e-mail to music@puc.edu, at least 24 hours in advance listing the date and time you would like to reserve the lab, and upon approval the Office Manager will post a sign on the door to
reserve the lab for you.
• Please clean up after yourself - put equipment back in its spot, organize keyboards, mics, etc, put
trash in its place, turn off computers and equipment. LEAVE IT BETTER THAN YOU FIND IT.
Should you have technical issues with the computers or software, or any other concern, contact either
Asher Raboy, or the Office Manager.
Enjoy making beautiful music!
I have read and agree to follow the rules for using the Computer Lab.
Date ____________________
Print Name _______________________________________ Signature _______________________________________
09-15
37
Auditorium & Lobby Usage Guidelines
• The Music Department is pleased to provide the auditorium for events hosted by college departments,
church, schools, local community and other non-college entities. Use of the auditorium includes use of existing artificial plants, the Sound Booth and lobby.
• The Auditorium may be reserved by contacting the Music Office, and will be presented to the Music Faculty in Faculty Meeting for approval.
• All fees, where applicable, will be paid by the user before the event. PUC Departments, Clubs, Church,
Prep and Elementary must supply a GL# at the time of booking with the understanding that a cleaning fee
may be charged it the facility is not left clean and organized.
• A key for the Auditorium may be obtained from the Music Office. The person who checks out the key is
responsible for the use of the Auditorium and insuring that it is left clean and organized.
• Return key(s) to the Music Office no later than 24 hours after event (there is a drop box located in the door
of room #102). Failure to return the key will result in a $50 key charge.
• Permission to use all instruments and equipment, including choral risers and shell must be obtained from the
Music Department. No items shall be moved from other rooms to the Auditorium without prior permission of
the Music Department.
• Permission to use the organ must be obtained from the Music Department. The organ must stay at least 1
foot away from the back and side walls of the stage, so as to not damage the hose.
• The Sound Booth will be kept clean and organized and lights off and door locked when not in use. • No food or drink are allowed in the Auditorium.
• Permission is to be obtained from the Music Department for any construction or decorations. Stage props
should not reach beyond the height of the fascia board below the organ pipes, nor should any attachment be
made to any permanent structure. All building materials are to be kept organized and neat: no loose nails,
wood, paint and brushes left sitting around.
• Candles and open flames are not allowed in the Auditorium.
• All lights must be turned off and doors locked when not in use.
• All cleanup is the responsibility of the user within one day of use. Please see the Auditorium & Lobby Spic
& Span 101 cleaning list on the back of this guide sheet. Upon completion of event all materials are to be
removed by the user immediately, unless prior arrangements have been made with the Music Department.
- Over for Cleaning Instructions 07-13 Ivory
38
Auditorium & Lobby Spic & Span 101
Cleaning supplies are located in the janitor closet, Room #131 next to the double doors to the Choir Room. Obtain key from Music Office.
AUDITORIUM
_____ No food or drink allowed in the auditorium. (Refreshments allowed in lobby and patio only.
NO red or purple juice in the lobby.)
_____ Pick up and remove all litter and programs from the auditorium and stage area, including
the off-stage area.
_____ Remove all decorations.
_____ Dust mop stage and off-stage area.
_____ Vacuuming: You do NOT need to vacuum unless the auditorium is exceptionally dirty.
_____ Sound Booth: Make sure all equipment is turned off, light turned off and the door is locked. Dispose of any litter.
_____ Turn out all auditorium lights.
_____ Lock all doors to auditorium.
LOBBY
_____ Remove all decorations from lobby.
_____ Fold tables (if used) and place them outside in the patio against the west wall for
Custodial to pick up.
_____ Pick up and remove all litter from lobby area. (PLEASE NOTE: chocolate chip cookies
often shed their chips and they get ground into the carpet. Please provide plates or
napkins, and pick up any chips you see.)
_____ If trash is over-flowing, remove from bins and dispose in trash receptacle located in the parking lot between Paulin Hall and the gym. Replace trash bags (stored in janitor closet, Room 131).
_____ Vacuum the lobby (if needed) focusing mainly on the refreshment area.
_____ Arrange all chairs, end tables and trash cans in lobby as you found them.
_____ If you use the kitchenette, leave it clean as outlined on the Kitchenette Spic & Scan.
_____ Return key(s) to the Music Office (there is a drop box located in the door of room #101).
- Over for Usage Guidelines 39
Kitchenette Usage Guidelines
• The Music Department is pleased to provide a place to prepare food and drink for small receptions hosted by
the department, college, church, local community and other non-college entities when they use the Paulin Hall
facility for an event.
• The Paulin Hall Kitchenette may be reserved by contacting the Music Office, and will be presented to the
Music Faculty in Faculty Meeting for approval.
• All fees, where applicable, will be paid by the user before the event. PUC Departments, Clubs, Church,
Prep and Elementary must supply a GL# at the time of booking with the understanding that a cleaning fee may
be charged it the facility is not left clean and organized.
• A key for the kitchenette may be obtained from the Music Office. The person who checks out the key is
responsible for the use of the kitchenette and insuring that it is left clean and organized.
• Return key(s) to the Music Office no later than 24 hours after event (there is a drop box located in the door
of room #102). Failure to return the key will result in a $50 key charge.
• Please provide your own eating utensils, napkins, table clothes & decorations (please, no confetti).
• All serving ware, pans, dishes, utensils, plastic eating utensils, paper plates/cups/bowls & napkins are the
property of the Music Department. You may use all items except the plastic eating utensils and paper ware
items.
• All cleanup is the responsibility of the user within one day of use. Please see the Kitchenette Spic & Span
101 cleaning list posted in the kitchenette and on the back of this policy.
• Cleanliness and health requires that the preparing of food be done in a clean Kitchenette. It is best to use
disposable paper towels to wipe down counters and dry dishes as they do not carry bacteria. If you wish to
use your own cloth hand towels, go ahead and use them, but be sure to avoid cross contamination by reserving
certain towels for drying dishes, and other towels for wiping counters and hands. Be sure to take your towels
with you when you are done. Do not use cloth dishrags unless they are disposable, and throw them away when
you are done.
• Before preparing food, wipe counters with a paper towel and a little 409 (under the sink) and dry with paper
towel.
• New sponges for washing dishes are located in the second drawer down on the left.
- Over for Cleaning Instructions -
07-13 Blue
40
Kitchenette Spic & Span 101
_____ Cleanliness and health requires that the preparing of food be done in a clean Kitchenette. It is best to
use disposable paper towels to wipe down counters and dry dishes as they do not carry bacteria. If you wish
to use your own cloth hand towels, go ahead and use them, but be sure to avoid cross contamination by reserving certain towels for drying dishes, and other towels for wiping counters and hands. Be sure to take your
towels with you when you are done. Do not use cloth dishrags unless they are disposable, and throw them
away when you are done.
_____ Before preparing food, wipe counters with a paper towel and a little 409 (under the sink) and dry with paper towel.
_____ New sponges for washing dishes are located in the second drawer down on the left. After washing all pans, kettles, dishes & utensils, thoroughly dry them, and put away, then use the sponge to clean the rest of the kitchenette (or you may use one of the sponges under the sink.)
_____ Remove all leftover food from refrigerator.
_____ Wipe down inside of refrigerator with warm soapy sponge – rinse and dry with paper towel.
_____ Wipe down outside of frig with a little 409 cleaner and sponge – dry with paper towel.
_____ Wipe down back of stove, front and sides using non-abrasive side of sponge and a little 409 to cut grease – dry with paper towel. DO NOT use any cleanser on the stove top – simply wipe off with plain water and sponge.
_____ Clean oven, if used, with sponge and a little 409 – dry with paper towel.
_____ Sweep and mop floor.
_____ Clean sink with Comet – thoroughly rinse, and dry with paper towel, especially faucet.
_____ Spray counter top with a little 409 – wipe off with paper towel.
_____ Place used sponge under the sink, unless it is exceptionally grimy, then throw it away.
_____ Remove filled trash bag, and replace with a new one (bottom left-hand drawer).
Dispose of trash in bin located in the parking lot between Paulin Hall and the gym.
_____ Return key(s) to the Music Office (there is a drop box located in the door of room #101).
- Over for Usage Guidelines -
41
42
2. The music graduate will
evaluate music using the
appropriate theoretical
analysis and historical and
multicultural perspectives,
expressing themselves
clearly in writing and in
conversation.
1. The music graduate
will demonstrate a level
of competence as a solo
and ensemble performer
appropriate for their chosen
degree path.
SLO Rubric
Level II
A.S.
The student has a basic
understanding of the factors
of a successful performance
but does not exhibit them
continually throughout the
performance. The factors
include:
• Rhythmic accuracy
• Accurate intonation
• Musical
expressiveness
• A basic analytical
understanding of the
piece
The student demonstrates
The student lacks the
a basic or marginal
understanding of basic music
understanding of the
fundamentals resulting in:
following:
• poor music analysis
• Basic music
• a poor understanding
fundamentals leading
of the different style
to marginal music
periods and key figures
analysis
of Western Music
• Awareness of the
• Lack of awareness of
different style periods
music and musical
and key figures
styles from diverse
of Western Music
cultures
leading to successful
identification of
musical examples
• Awareness of music
and musical styles
from diverse cultures
The student lacks the
understanding of the factors
necessary for a successful
performance including:
• Rhythmic accuracy
• Accurate intonation
• Musical expressiveness
• A basic analytical
understanding of the
piece
Level I
PUC Music Department Program Level SLO Rubrics
Unacceptable
The student clearly and
consistently demonstrates an
excellent understanding of the
following:
• Music fundamentals
leading to successful
music analysis
• Different
compositional
techniques and
stylistic elements
used throughout the
different periods
of Western Music
through successful
analysis
• Familiarity with the
music of diverse
cultures
Levels III and IV
The student has an excellent
understanding of the factors
of a successful performance
and consistently exhibits them
throughout the performance.
The factors include:
• Rhythmic accuracy
• Accurate intonation
• Musical
expressiveness
• In-depth analytical
understanding of the
piece
B.S. (III) B.M. Ed (IV)
The student clearly and
consistently demonstrates an
advanced understanding of the
following:
• Music fundamentals
leading to successful
music analysis
• Different
compositional
techniques and
stylistic elements
used throughout the
different periods
of Western Music
through successful
analysis
• Respect for and
familiarity with the
music and musical
styles of diverse
cultures
Level V
The student has an advanced
understanding of the factors
of a successful performance
and consistently exhibits them
throughout the performance.
The factors include:
• Rhythmic accuracy
• Accurate intonation
• Musical
expressiveness
• In-depth analytical
understanding of the
piece
B.M. Performance
43
(NOT an SLO for the
A.S. Degree.)
4. The Bachelors degree
music graduate will develop
the knowledge base and
skill set to work with current
technology in music notation
and synthesis, and in other
relevant media.
The student demonstrates
The student clearly
demonstrates:
• Basic understanding
• Consistent
of the beat patterns
understanding o f the
but is not consistent in
basic beat patterns
effectively executing
• The ability to
them.
effectively conduct
• Understanding of the
cues
music from a metrical
• Understanding of the
aspect only
musical score
• The ability to
• The ability to address
address technical and
musical and technical
musical problems
problems in the
only marginally in a
rehearsal situation
rehearsal situation.
Technical and musical
problems are not
addressed in the
rehearsal situation.
The student lacks the basic
The student has a basic
The student has an excellent
skills necessary to accomplish command of technological
command of technological
the following:
skills that allow the following: skills that allow the following:
• use a computer
• use a computer
• use a computer
program to notate
program to notate
program to notate full
music
simple music
scores and generate
• record or edit audio
• record or edit audio
parts in a professional
recording on a
recording successfully
manner
computer
but without
• record or edit audio
• synthesize music using
sophistication on a
recording successfully
midi interface with a
computer
and professionally on
computer
• synthesize music
a computer
using midi interface
• synthesize music using
with a computer but
midi interface that
cannot make take the
sounds like human
“computer” out of the
interpretation of music
midi sound
•
and/or
3. The music graduate will
The student demonstrates the
demonstrate competency to
following issues:
conduct a large and small
• The student does not
group rehearsal appropriate to
understand basic beat
their degree path.
patterns and cannot
effectively execute
them in a rehearsal
situation
The student has an advanced
command of technological
skills that allow them to do the
following:
• use a computer
program to notate full
scores and generate
parts that appear to be
engraved
• record or edit audio
recording with
rich sound and
commercially viable
results
• synthesize music
using midi interface
that sounds like
human interpretation
of music and/or live
performance
The music graduate clearly
demonstrates the following:
• An excellent
understanding of both
basic and multi-beat
patterns
• The ability to conduct
cues with expression,
reflecting the style of
the music
• The ability to address
technical and musical
problems in a macro
and micro setting
44
The student demonstrates:
The student demonstrates:
The student demonstrates:
The student demonstrates:
5. The Music Education
• Their inability to play
• Their ability to play
• Their ability to play
• Their ability to play
graduate will demonstrate the
all brass, woodwinds,
all brass, woodwinds,
all brass, woodwinds,
all brass, woodwinds,
pedagogical skills necessary
percussion
percussion instruments
percussion instruments
percussion
to be an effective music
• n instruments and/or
and/or voice at a basic
and/or voice at a
instruments, and/or
educator.
voice at a basic level
level
proficient level
voice at an exemplary
• Their in-ability
• Their ability play
• Their ability to play a
level
play piano at a an
piano at a level just
four-part homophonic
• Their ability to play
(Only applies to music
an intricate four-part
appropriate level to
sufficient to pass the
work on the piano
education students)
pass the keyboard
keyboard exam
• Their ability to model
Bach choral on the
• Their ability to model
all brass, woodwinds,
piano
exam
· Music Education
all brass, woodwinds,
• Their inability to
percussion and/or
• Their ability to model
students MUST
model all brass,
percussion and/or
voice to their students
all brass, woodwinds,
reach at least a level
voice to their students
at a proficient level
woodwinds, percussion
percussion and/or
III proficiency and
at a basic level
and/or voice to their
• How to teach all
voice to their students
preferably a level IV
• How to teach all
students at a basic level
brass, woodwinds,
at an exemplary level
proficiency for this
brass, woodwinds,
• Their inability to teach
percussion and/or
• How to teach all
SLO.
percussion and/or
all brass, woodwinds,
brass, woodwinds,
voice to students at
voice to students at
percussion and/or
percussion and/or
both the elementary
both the elementary
voice to students at
and secondary level at
voice to students at
and secondary level at
both the elementary
a proficient level
both the elementary
a basic level
and secondary level at
and secondary level at
a basic level
an exemplary level
45
F
D
C
B
A
Score
Tone & Technique
The performance
displays superior
technique and uses a
tone that exemplifies the
style of the piece.
The performance
displays above average
technique and, except
in rare instances, uses a
tone appropriate for the
style of the piece.
The performance
displays adequate
technique, an
understanding of the
appropriate tone, and
achieves the appropriate
tone for the majority of
the performance.
The performance
displays less than
adequate technique and
uses an ill-defined tone.
The performance
displays poor technique
and uses a tone that is
unsuitable.
Mechanics
All pitches and rhythms
are correct.
There are one or two
insignificant pitch or
rhythmic errors that
in no way indicate a
pattern of mechanical
failure.
There are pitch and/
or rhythmic problems
that indicate the
performer has learned
inaccurately, but the
errors are within the
fabric of tonality and
style.
There are significant
pitch and/or rhythmic
errors in a single
section of a piece.
Rhythmic and/or pitch
problems are pervasive
and indicate that the
performer does not
know correct from
incorrect rhythms and
pitches.
Music Performance Rubric
Faulty intonation
interferes with the
performance.
The performer
displays
significant
intonation
problems.
The performer
displays adequate
intonation.
There are one
or two pitches
that have faulty
intonation.
With rare
exceptions,
all pitches are
performed in
tune.
Intonation
The performer executes an
interpretation of the music that
contradicts that which would
be appropriate for the piece.
The performer makes little
attempt to interpret the piece
of music.
The performer attempts an
interpretation that is in keeping
with the style of the piece, but
is slightly ineffectual in the
execution.
The performance indicates
that the performer understands
the musical selection. All
interpretive nuances are
executed using the correct style
including tempo, dynamics,
rubato, anacrusis, form, tone,
etc.
There are rare instances of
faulty interpretation that may
include, but are not limited to,
tempo, dynamics, rubato, form,
tone and anacrusis.
Interpretation
The performer’s
use of articulation
and diction often
detracts from the
performance and
displays modest
understanding of
the music.
The performer
uses poor
articulation and
diction.
The performer’s
use of articulation
and diction
enhances the
performance,
and displays an
understanding of
the music by the
performer.
The performer
uses adequate
articulation and
diction.
The performer
uses superior
articulation and
diction.
Articulation
& Diction
The performer displays
no understanding of the
audience and the correct
performance etiquette
including dress and
deportment.
The performer displays
little understanding of
the audience and the
correct performance
etiquette including dress
and deportment.
The performer
displays an adequate
understanding of the
audience and the correct
performance etiquette
including dress and
deportment.
The performer
displays a superior
understanding of, and
great concert for, the
audience and the correct
performance etiquette
including dress and
deportment.
The performer displays
an above average
understanding of the
audience and the correct
performance etiquette
including dress and
deportment.
Conventions
The performance is
not recognizable to
the juror following
the printed music.
A significant number
of rhythmic and pitch
errors are evident.
There is no attempt at
interpretation.
Most pitches and
rhythms are accurate.
There is little, or no,
application given to
interpretation.
The piece is
performed with near
perfect accuracy.
Performance would
be in keeping with
professional level,
recording session
quality sight reading.
A majority of pitches
and rhythms are
accurate. Performer
successfully follows
a majority of the
indicated interpretive
markings.
Sight Reading
Pacific Union College
MUSC-01
Major in Music: Music Education Emphasis, B. Mus.
Major Course Requirements
Student Learning Outcomes
Minimum of 121 hours (63 upper-division hours)
Students can:
- Demonstrate skill as a solo and ensemble performer who can
work as a professional music educator.
- Apply specific knowledge in music theory, music history, and
conducting relevant to a professional career as a music educator.
- Appreciate the diversity of musical styles within and outside
the traditional canon of Western music.
- Think, speak, and write clearly and effectively about music.
- Utilize skills to work with current technology in music notation and synthesis, and in other relevant media.
- Demonstrate the appropriate pedagogical background and teaching experience to function as an effective K-12 music educator.

Required
Core Courses (65 hours):
MUED 241
Basic Conducting
2
MUHL 245
World Music and Culture
3
MUHL 331
Music/Antiquity through Baroque
3
MUHL 332
Music/Classic & Romantic Eras
3
MUHL 333
Contemporary Music
3
MUTH 121+121L
Theory I & Laboratory
3+1
MUTH 122+122L
Theory I & Laboratory
3+1
MUTH 123+123L
Theory I & Laboratory
3+1
MUTH 221+221L
Theory II & Laboratory
3+1
MUTH 222+222L
Theory II & Laboratory
3+1
MUTH 223+223L
Theory II & Laboratory
3+1
MUTH 224
Music Tech: Notation
1
MUTH 225
Music Tech: Editing & Synthesis
2
MUTH 331
Orchestration & Arranging
3
MUTH 332
Counterpoint
3
MUTH 333
Form & Analysis
3
MUTH 432
Composition
1+1+1
MUEN
Large Ensembles
12
During each quarter in residence, participate in at least one
large ensemble (Chorale, I Cantori, Orchestra, Symphonic Wind
Ensemble,Guitar Ensemble, or Keyboard Ensemble).
- For piano majors, three of the total hours must be in
MUEN 359 Keyboard Ensemble.
- Music education majors are required to participate in both
choral and instrumental ensembles for a minimum of three
quarters each and in a small ensemble in the area of one’s
specialty for a minimum of one quarter.
Occupational Information
What can I do with this major?
This is a professional degree pursued primarily by those who
wish to teach music in a school situation from preschool through
grade twelve. It is strongly recommended that students taking
this major also take the coursework leading to both California
State Preliminary and SDA Basic credentials.
Additional Education Required?
For those interested in elementary and secondary teaching in
California, a fifth year is required for a full credential. The fifth
year may or may not be at the graduate level. Additional information can be obtained from the Education Department.
Public Sector vs. Denominational
Teaching jobs are available in the public school system as well
as private Christian and SDA schools,

Emphasis (56 hours):
EDUC 101+L
Intro to Teaching + Classroom Obs.
1+1
EDUC 333
Educational Psychology
3
MUED 251+2+3 Singers’ Diction
1+1+1
MUED 338+L
Music for Children + Lab
2+1
MUED 342
Instrumental Conducting
3
MUED 343
Choral Conducting
3
MUED 355
Instrument Repair
2
MUED 360
Brass Methods & Techniques
2
MUED 361
Percussion Methods & Techniques
2
MUED 362
String Methods & Techniques
2
MUED 363
Vocal/Choral Methods & Techniques
2
MUED 364
Woodwind Methods & Techniques
2
MUED 381+2+3 Music in Elem. & Sec. Schools
2+2+2
MUSP 163/363
Performance Studies: Major
12
(maximum 6 hours lower-division)
MUSP 489*
Senior Recital
1
One of the following options
EDUC 362
Secondary Content Area (3)
MUED 381+2+3L Music/ Elem & Sec. School Lab (1+1+1)
2015-2016
Job Outlook
Pacific Union College has had excellent success placing its
graduates in teaching positions, and during the past few years
there have been more calls for music teachers than graduates
to fill those calls. For increased marketability it is often wise to
obtain endorsements for teaching additional subjects such as PE,
history, language, etc.
Competition is keen in some areas of music teaching; it is particularly tight at the college level where administrators often receive
dozens of applications for every opening. Recently both public and
denominational school administrators are experiencing difficulty in
finding enough qualified music teachers to fill openings.
Most institutions or school systems have a salary schedule based
on two criteria: years of education/degrees and teaching experience. For more information regarding wages, visit www.aft.org.
3
Pedagogy coursesework
2
Two credits studying the pedagogy and literature in the area of
the student’s performance emphasis.
Electives
Take 3 credits of music or education electives
3
* Under unusual circumstances, MUED 489 Senior Project may meet
this requirement by special permission of the department.
46
Pacific Union College
MUSC-01
Major in Music: Music Education Emphasis, B. Mus.
Sample Four-Year Program
General Education Requirements
This sample curriculum is designed to show you how a
program may be constructed and to help you select a proper
sequence of courses in the major. It is not likely that these
courses can always be taken in the order given. Your advisor
will help you design a personalized program.
To view general education requirements for this major,
please refer to page A-05, Summary of General Education
Requirements: B. Music Degree.
Piano Proficiency
Bachelor of Music degree students are required to pass the
music department Piano Proficiency Test (PPT) Parts I & II at
the beginning of their first quarter as a music major or take
piano lessons until they have passed the PPT II. Information on
the exams may be found in the music major handbook.
How to Construct Your Own Program
1.
2.
3.
4.
5.
2015-2016
Counsel with your advisor.
Consider your aptitudes, interests, and available courses.
Schedule major courses and cognates first.
Fill the rest of your schedule with G.E. requirements.
For the freshman year include English, Religion, and PE
courses. Also include Basic Algebra I+II unless waived by
previous work.
What the Degree Includes
A total of 192 quarter hours including:
1. A minimum of 60 upper division hours.
2. General Education requirements.
3. Major requirements.
4. Minimum 2.0 GPA, overall and major.
First Year
F
W
S
Ensemble
Music Performance
Theory I+Laboratories
Music Technology: Notation
Singers’ Diction
Intro to Teaching/Classroom Observation
World Music and Culture
Basic Conducting
General Ed/Electives
1
1
4
1
1
2
6
1
1
4
1
3
6
1
1
4
1
2
7
16
16
16
Second Year
F
W
S
Ensemble
Music Performance
Theory II+Laboratories
Music Methods & Techniques*
Music for Children+Laboratory
Music Technology: Editing & Synthesis
General Ed/Electives
1
1
4
2
3
5
1
1
4
2
2
6
1
1
4
2
8
16
16
16
F
W
S
2
2
1
2
2
3
3
1
3
13
3
2
1
3
3
2
1
2
2
3
3
1
6
2
1
2
1
3
2
3
3
1
.2
14
32
32
32.2
Third and Fourth Years
Educational Psychology
Music Methods & Techniques*
Instrument Repair
Music Pedagogy*
Instrumental Conducting (even)**
Choral Conducting (odd)
Music in Elem/Sec Schools
Music in Elem/Sec Schools Lab
Music Performance and Recital
Ensemble
Music History Sequence (odd)
Orchestration & Arranging (even)
Counterpoint (even)
Form and Analysis (even)
Composition
Elective*
Senior Assessment Seminar
General Education/Electives
For More Information
Music Department
Pacific Union College
One Angwin Avenue
Angwin, CA 94508
(707) 965-6201
Email: music@puc.edu
Website: www.puc.edu/music
National Association of Schools of Music
11250 Roger Bacon Drive #5 Reston, VA 22090
Music Educators National Conference
1902 Association Drive Reston, VA 22091
* To be selected in consultation with the advisor.
** Courses marked (even) or (odd) are taught in alternate years only.
2015-2016 is even, 2016-2017 is odd .
47
Pacific Union College
MUSC-02
Major in Music: Performance Emphasis, B. Mus.
Major Course Requirements
Student Learning Outcomes
Minimum of 117 hours (50 upper-division hours)
Students can:
- Demonstrate excellence as a solo and ensemble performer to
provide a basis for a professional career as a performing musician.
- Apply specific knowledge in music theory, music history,
conducting, and instrumental or vocal pedagogy relevant to a
professional career as a performing musician.
- Appreciate the diversity of musical styles within and outside
the traditional canon of Western music.
- Think, speak, and write clearly and effectively about music.
- Utilize skills to work with current technology in music notation and synthesis, and in other relevant media.

Required
Core Courses (65 hours):
MUED 241
Basic Conducting
2
MUHL 245
World Music and Culture
3
MUHL 331
Music/Antiquity through Baroque
3
MUHL 332
Music/Classic & Romantic Eras
3
MUHL 333
Contemporary Music
3
MUTH 121+121L
Theory I & Laboratory
3+1
MUTH 122+122L
Theory I & Laboratory
3+1
MUTH 123+123L
Theory I & Laboratory
3+1
MUTH 221+221L
Theory II & Laboratory
3+1
MUTH 222+222L
Theory II & Laboratory
3+1
MUTH 223+223L
Theory II & Laboratory
3+1
MUTH 224
Music Tech: Notation
1
MUTH 225
Music Tech: Editing & Synthesis
2
MUTH 331
Orchestration & Arranging
3
MUTH 332
Counterpoint
3
MUTH 333
Form & Analysis
3
MUTH 432
Composition
1+1+1
MUEN
Large Ensembles
12
During each quarter in residence, participate in at least one
large ensemble (Chorale, I Cantori, Orchestra, Symphonic Wind
Ensemble,Guitar Ensemble, or Keyboard Ensemble).
- For piano majors, three of the total hours must be in
MUEN 359 Keyboard Ensemble.

Emphasis
MUSP 390
MUSP 490
Occupational Information
What can I do with this major?
Holders of this degree usually plan to continue their education
on the graduate level with the goal of eventually teaching their
particular performance area (voice or instrument) in college.
However, there are other (often part-time) job opportunities as
well, such as private studio teaching, studio musicians, symphony players, and church musicians.
Additional Education Required?
A masters degree or even a doctorate are usually necessary
before one can be considered for full-time college teaching positions. One’s expertise and personality are the main keys to other
opportunities open to graduates with this degree.
(52-55 hours):
MUED 349
MUSP 164+364
Directed Teaching (in major area)
Performance Studies: Major
(maximum 18 hours lower-division)
Junior Recital
Senior Recital: Emphasis Major
1+1
36
Public Sector vs. Denominational
Many college jobs should become available because of retirements over the next ten to fifteen years. There are very few
paying musician opportunities in SDA churches, but positions in
other churches often pay fairly well. Only those with exceptional
talent and unusually clear career goals with motivation should
consider this major.
1
1
Chamber music coursework
3
Three credits of chamber music coursework in the area of the
student’s major.
Conducting coursework
3
Three credits of conducting coursework (MUED 342 or 343).
Job Outlook
It is difficult to get a college position at the present time, but
there is always room for good private studio teachers. Studio
musicians and symphony players often run into union problems
and competition is fierce. Openings occur quite often for church
musicians (mostly part time jobs) at Sunday churches and usually work well into one’s schedule.
Earnings: Depend on a performer’s professional reputation,
place of employment, and number of hours worked. College
teaching: average from $33,700 (lecturer) to $65,400 (full professor); average of private colleges = $56,500, public colleges =
$50,400, religious affiliated colleges = $45,200. Private studio
instruction: $30-100+ per hour. Studio musicians: $120-250 per
3-hour sessions; sought after players can earn $400K or more
per year. Major orchestra musicians: $22,000 to $90,000 plus a
year.
Music history and literature coursework
2
Two credits studying the history and literature in the area of the
student’s performance emphasis. Keyboard: MUHL 337. String:
MUHL 339. All others areas: MUHL 495.
Pedagogy coursesework
2
Two credits studying the pedagogy and literature in the area of
the student’s performance emphasis. Piano: MUED 473+474.
Organ: MUED 475+476. Voice: MUED 477. String: MUED
478+479. All other areas: MUED 495.
At least 2 hours from the following:
Techniques and methods courses
MUED 360, 361, 362, 363, 364
Pedagogy courses
MUED 473, 474, 475, 476,477, 478, 479.
Vocal Performance Students Only:
MUED 251+252+253 Singer’s Diction (1+1+1)
2015-2016
2
(3)
48
Pacific Union College
MUSC-02
Major in Music: Performance Emphasis, B. Mus.
Sample Four-Year Program
General Education Requirements
To view general education requirements for this major,
please refer to page A-05, Summary of General Education
Requirements: B. Music Degree.
Piano Proficiency
Bachelor of Music degree students are required to pass the
music department Piano Proficiency Test (PPT) Parts I & II at
the beginning of their first quarter as a music major or take
piano lessons until they have passed the PPT II. Information on
the exams may be found in the music major handbook.
2015-2016
This sample curriculum is designed to show you how a
program may be constructed and to help you select a proper
sequence of courses in the major. It is not likely that these
courses can always be taken in the order given. Your advisor
will help you design a personalized program of studies.
First Year
F
W
S
Theory I & Laboratories
Music Technology: Notation
Music Performance
Ensemble
General Education/Electives
4
1
3
1
7
4
3
1
8
4
3
1
8
16
16
16
How to Construct Your Own Program
1.
2.
3.
4.
5.
Counsel with your advisor.
Consider your aptitudes, interests, and available courses.
Schedule major courses and cognates first.
Fill the rest of your schedule with G.E. requirements.
For the freshman year include English, Religion, and PE
courses. Also include Basic Algebra I+II unless waived by
previous work.
What the Degree Includes
A total of 192 quarter hours including:
1. A minimum of 60 upper division hours.
2. General Education requirements.
3. Major requirements.
4. Minimum 2.0 GPA, overall and major.
For More Information
Music Department
Pacific Union College
One Angwin Avenue
Angwin, CA 94508
Phone (707) 965-6201
Email: music@puc.edu
Website: www.puc.edu/music
National Association of Schools of Music
11250 Roger Bacon Drive #5
Reston, VA 22090
Music Educators National Conference
1902 Association Drive
Reston, VA 22091
Second Year
Theory II & Labs
Intro to World Music and Culture
Music Technology: Editing & Synthesis
Music Performance
Ensemble
Techniques and Pedagogy*
Basic Conducting
Directed Teaching: Music
General Education/Electives
Third and Fourth Years
Perform. Studies Major (junior year)
Recital(junior year)
Ensemble (junior year)
Instrumental Conducting (even)**
(or Choral Conducting) (odd)
Music History Sequence (odd)
Orchestration & Arranging (even)
Counterpoint (even)
Form and Analysis (even)
Techniques and Pedagogy*
Literature of Major Instrument
Perform. Studies Major (senior year)
Recital (senior year)
Ensemble (senior year)
Composition (even)
Chamber Music
Senior Assessment Seminar
General Education/Electives
F
W
S
4
3
1
1-2
1
6
4
3
2
3
1
1-2
1
1
4
3
1
2
1
6
16
16
16
F
W
S
3
1
3
3
1
3
1
1
1
15
3
1
3
(3)
3
3
(1)
2
3
1
1
1
11
3
1
1
3
3
(1)
3
1
1
1
1
.2
14
32
32
32.2
* To be selected in consultation with the advisor.
** Courses marked (even) or (odd) are taught in alternate years only.
2015-2016 is even, 2016-2017 is odd .
49
Pacific Union College
MUSC-03
2015-2016
Major in Music: B.S. Degree
Major Course Requirements
Student Learning Outcomes
A minimum of 69 hours (21 upper-division hours)

Required
Core Courses (64 hours):
MUED 241
Basic Conducting
2
MUHL 245
Intro to World Music and Culture
3
MUHL 331
Music from Antiquity
through the Baroque
3
MUHL 332
Music of the Classic & Romantic Eras 3
MUHL 333
Contemporary Music
3
MUTH 121+22+23 Theory I + Laboratories
3+1+3+1+3+1
MUTH 221+22+23 Theory II + Laboratories
3+1+3+1+3+1
MUTH 224
Music Technology: Notation
1
MUTH 225
Music Technology: Editing & Synthesis 2
MUSP 163 and 363 Performance Studies: Major
7
(maximum of 6 hours lower-division)
MUEN
Large Ensembles
12
During each quarter in residence, participate in at least one
large ensemble (Chorale, I Cantori, Orchestra, Symphonic Wind
Ensemble, Guitar Ensemble, or Keyboard Ensemble).
At least one of the following courses:
1
MUED 489
Senior Project (1)
MUSP 489
Senior Recital (1)
At least 3 hours from the following:
3
MUTH 331
Orchestration & Arranging (3)
MUTH 332
Counterpoint (3)
MUTH 431
Form & Analysis (3)
MUTH 432
Composition (1-3)

Required Core Electives (5 hours):
At least 5 hours from the following:
Five additional hours selected in consultation with the
advisor and approved by the music faculty to develop a solid
background in the area of the student’s recital or project.
This major fulfills the following general education requirement:
Music: MUHL 245
5
Students can:
- Demonstrate a level of competence as a solo and ensemble
performer appropriate for a musician educated in the liberal
arts.
- Apply specific knowledge in music theory, music history, and
basic conducting.
- Appreciate the diversity of musical styles within and outside
the traditional canon of Western music.
- Think, speak, and write clearly and effectively about music.
- Utilize foundational skills in current technology in music
notation and synthesis.
sic notation and synthesis.
Occupational Information
What can I do with this major?
This degree should be considered as a preparation for further study in a variety of disciplines. For example, programs
can be planned to meet the requirements for Pre-Medicine or
Pre-Dentistry or graduate studies in music or other fields. It is
anticipated that most graduates will continue education toward
specialized, professional careers. One can teach in a private
music studio with this degree.
Additional Education Required?
Most graduates with this degree will want to pursue graduate
study in some area before seeking employment.
Public Sector vs. Denominational
Except for unusual cases, employment with only this degree is
not to be expected.
Job Outlook
Not applicable except for private studio teachers who can set
up a successful studio in most communities. Earnings: Not applicable except for private studio instruction: $30 to $100+ per
hour.
50
Pacific Union College
MUSC-03
2015-2016
Major in Music: B.S. Degree
General Education Requirements
Sample Four-Year Program
To view general education requirements for this major,
please refer to page A-01, Summary of General Education
Requirements: B.S. Degree.
This sample curriculum is designed to show you how a
program may be constructed and to help you select a proper
sequence of courses in the major. It is not likely that these
courses can always be taken in the order given. Your advisor
will help you design a personalized program of studies.
Piano Proficiency
Bachelor of Science degree music majors are required to pass
the music department Piano Proficiency Test (PPT) Parts I & II
at the beginning of their first quarter as a music major or take
piano lessons until they have passed the PPT II. Information on
the exams may be found in the music major handbook.
How to Construct Your Own Program
1.
2.
3.
4.
5.
Counsel with your advisor.
Consider your aptitudes, interests, and available courses.
Schedule major courses and cognates first.
Fill the rest of your schedule with G.E. requirements.
For the freshman year include English, Religion, and PE
courses. Also include Basic Algebra I+II unless waived by
previous work.
First Year
F
W
S
Theory I + Laboratory
Intro to World Music and Culture
Music Technology: Notation
Music Technology: Editing & Synthesis
Music Performance
Ensemble
Basic Conducting
General Education/Electives
4
1
1
1
9
4
3
2
1
1
5
4
1
1
2
8
16
16
16
Second Year
F
W
S
Theory II + Laboratory
Music Performance
Ensemble
General Education/Electives
4
1
1
11
4
1
1
11
4
1
1
11
16
16
16
Third and Fourth Years
F
W
S
Music Performance
Ensemble (junior year)
At least 3 hours of UD Theory
Orchestration & Arranging (even)*
Counterpoint (even)
Form and Analysis (even)
Composition
Music/Antiquity through Baroque (odd)
Music/Classic & Romantic Eras (odd)
Contemporary Music (odd)
Music History
Music Elective**
General Education/Electives
Recital or Project
Ensemble (senior year)
Senior Assessment Seminar
General Education/Electives
1
1
1
1
3
(1)
3
3
2
11
1
10
(3)
(1)
3
3
1
14
1
12
(3)
(1)
3
3
2
3
1
1
.2
21
32
32
32.2
What the Degree Includes
A total of 192 quarter hours including:
1. A minimum of 60 upper division hours.
2. General Education requirements.
3. Major requirements.
4. Minimum 2.0 GPA, overall and major.
For More Information
Music Department
Pacific Union College
One Angwin Avenue
Angwin, CA 94508
(707) 965-6201
Email: music@puc.edu
Website: www.puc.edu/music
National Association of Schools of Music
11250 Roger Bacon Drive #5 Reston, VA 22090
Music Educators National Conference
1902 Association Drive Reston, VA 22091
* Courses marked (even) or (odd) are taught in alternate years only.
2015-2016 is even, 2016-2017 is odd .
** Music Electives are to be selected in consultation with the advisor
and approved by the music faculty to develop a solid background in
the area of the student’s recital or project.
51
Pacific Union College
MUSC-04
2015-2016
Major in Music: A.S. Degree
Major Course Requirements
A minimum of 42 hours

Required Core Courses (33 hours):
MUED 241
Basic Conducting
2
MUHL 105
Survey of Music
3
MUHL 245
Intro to World Music and Culture
3
MUTH 121+22+23 Theory I + Laboratories
3+1+3+1+3+1
MUEN
6 Quarters of Large Ensemble
6
MUSP 163
Performance Studies
6
MUSP 289
Associate Recital
1

Required Core Electives (9 hours):
9 hours of music electives, selected in consultation
with the music advisor.
9
Student Learning Outcomes
Students can:
- Demonstrate a level of competence as a solo and ensemble
performer appropriate for a connoisseur musician.
- Apply foundational knowledge in music theory, music history,
and conducting (ensemble leadership skills).
- Appreciate the diversity of musical styles within and outside
the traditional canon of Western music.
Occupational Information
What can I do with this major?
Holders of this degree can expect to be more involved in
music making than the average college graduate. One might
be employed as a church musician, a private studio teacher, an
employee in a music store, an orchestral musician, or a myriad
of other possibilities dependent upon the talent and interests of
each person.
Additional Education Required?
Many graduates with this degree will continue working
toward a baccalaureate degree in music, which is required
in some professional organizations for regular membership.
Some others will expect to complete higher degrees in other
professional areas such as medicine/dentistry, business,
psychology, education, etc.
Public Sector vs. Denominational
Except for unusual cases, employment with this degree is not
to be expected. However, all holders of this degree should be
able to contribute in some way to the musical ministries of their
home churches.
Job Outlook
Not applicable except for private studio teachers who can
set up a successful studio in most communities. Earnings: Not
applicable except for private studio instruction: $30 to $100+
per hour.
52
Pacific Union College
MUSC-04
2015-2016
Major in Music: A.S. Degree
General Education Requirements
Sample Two-Year Program
To view general education requirements for this major, please
refer to page A-07, Summary of General Education Requirements: A.S. Degree.
This sample curriculum is designed to show you how a
program may be constructed and to help you select a proper
sequence of courses in the major. It is not likely that these
courses can always be taken in the order given. Your advisor
will help you design a personalized program of studies.
Piano Proficiency
Associate of Science degree music majors are required to pass
the music department Piano Proficiency Test (PPT) Part I at the
beginning of their first quarter as a music major or take piano
lessons until they pass the exam or graduate. Information on the
exams may be found in the music major handbook.
First Year
F
W
S
Survey of Music
Theory I + Laboratories
Performance Studies
Ensemble
General Education & Electives
3
4
1
1
8
4
1
1
10
4
1
1
10
16
16
16
Second Year
F
W
S
Intro to World Music and Culture
Basic Conducting
Performance Studies
Ensemble
Associate Recital
Music Electives
Assessment Seminar
General Education & Electives
1
1
3
11
3
1
1
3
8
2
1
1
1
3
.1
8
16
16
16.1
How to Construct Your Own Program
1.
2.
3.
4.
5.
Counsel with your advisor.
Consider your aptitudes, interests, and available courses.
Schedule major courses and cognates first.
Fill the rest of your schedule with G.E. requirements.
For the freshman year include English, Religion, and PE
courses. Also include Basic Algebra I+II unless waived by
previous work.
What the Degree Includes
A total of 90 quarter hours including:
1. General Education requirements.
2. Major requirements.
3. Minimum 2.0 GPA, overall and major.
Courses marked (even) or (odd) are taught in alternate years only.
2015-2016 is even, 2016-2017 is odd .
For More Information
Music Department
Pacific Union College
One Angwin Avenue
Angwin, CA 94508
(707) 965-6201
Email: music@puc.edu
Website: www.puc.edu/music
National Association of Schools of Music
11250 Roger Bacon Drive #5 Reston, VA 22090
Music Educators National Conference
1902 Association Drive Reston, VA 22091
53
Pacific Union College
A-01
Summary of General Education Requirements, B.S. Degree
2015-2016
The following sections may be completed in any order.
However, please note that you must complete a 200-level
religion course within your first two years of enrollment
at PUC. This is a prerequisite to enrollment in any upperdivision religion courses.
The Purpose of General Education
The general education program at Pacific Union College seeks
to provide students with the knowledge, values, and skills they
need to live Christ-centered, productive lives of integrity and
service in a complex world.
• A knowledge of human cultures and the natural world;
• Seventh-day Adventist Christian values, including integrity,
justice, compassion, and wholeness;
• The following skills:
- To communicate effectively in written and spoken English;
- To think critically and creatively about information, ideas,
and arguments;
- To locate and use appropriately a broad variety of resources
and information; and
- To learn and work collaboratively.
C. Building Scriptural Foundations
One course from the following:
RELB 200 Methods/Bible Study, RELB 225 Books/Moses,
RELB 230 Psalms/Wisdom Lit, RELB 250 Parables/Jesus,
RELB 260 Heroes/Villains, RELB 265 Kings/Conquest,
RELB 270 Acts of the Apostles, RELB 310 Prophets/Israel,
RELB 320 Women/Bible, RELB 328 Jesus & the Gospels,
RELB 342 Biblical Books, RELB 460 Paul & his Letters,
RELT 205 Christian Beliefs
D. Exploring SDA Life & Thought
One course from the following:
RELB 370 Studies/Daniel, RELB 371 Studies/Revelation,
RELH 235 Ellen G White, RELH 360 Adventist Heritage,
RELP 351 Ministry of Healing, RELT 220 SDA Beliefs,
RELT 335 Theology/Sanctuary, RELT 336 Current Issues,
RELT 337 Last Day Events, RELT 338 The Sabbath
The General Education Program as summarized on this sheet
is designed for a quick overview. The program is described in
full in the General Catalog.
2
I. Foundations of Learning
E. Integrating Faith and Life
One course from the following:
RELB 315 Biblical Ethics, RELP 235 Sharing Your Faith,
RELP 350 Christian Ministry, RELT 216 Intro/Chr. Ethics,
RELT 235 Christian Spirituality, RELT 240 Eco-theology,
RELT 330 Christian/Media, RELT 335 Chr. Ethics/Society,
RELT 350 Special Topics, RELT 440 Christian Bioethics
Psychology/Social Work Students Only:
PSYC/SOWK 490 Religion, Ethics, & Human Sciences
English, Communication, and Algebra should be completed
by the end of the freshman year and must be completed by
the end of the sophomore year.
A. College Writing
ENGL 101 College English
ENGL 102 College English
B. Oral Communication
COMM 105 Intro to Communication
A portion of the religion requirement may be waived for
students who transfer a significant amount of coursework
from non-Adventist colleges and universities. Contact the
Records Office for details.
C. Quantitative Reasoning
One of the following options:
1 year of HS Alg. II with semester grades of C- or better, or
Waiver Exam, or
MATH 095+096 Basic Algebra I+II
III. History and Social Sciences
STAT 222 Introduction to Statistics
A. History
One sequence from the following:
Course #1
Course #2 (must be from same sequence as Course #1)
HIST 101+102 History of World Civilizations
HIST 134+135 History of the U.S.
II. Foundations of Faith
18 total hours of religion coursework
Include 9 hours from RELB and RELT courses
Include 6 hours from upper-division courses
Include each subsection described below
B. Social Sciences
Two courses from the following:
Course #1 (must have prefix ANTH, PSYC, or SOCI)
Course #2 (must have a prefix different from Course #1)
ANTH 124 Anthropology, ECON 261 Macroeconomics,
ECON 265 Microeconomics, GEOG 210 World Geog,
HIST 351 Hist of Culture, MKTG 360 Consumer Behavior,
PLSC 124 Intro Amer/Govt, PLSC 328 Critical World Iss,
PSYC 121 General Psych, PSYC 390 Gender Issues,
SOCI 121 Intro to Sociology, SOCI 214 The Family,
SOCI 232 American Social Problems,
SOCI 355 “Racial” and Ethnic Relations
A. Prerequisite
One of the following options:
High school religion courses with grades of C- or better, or
Waiver Exam, or
RELT 105 Introduction to the Bible
This requirement must be completed within the first two
quarters of enrollment at PUC.
B. Encountering Jesus
RELB 150 Encountering Jesus
This requirement must be completed within the first year of
enrollment at PUC.
54
Pacific Union College
A-01
Summary of General Education Requirements, B.S. Degree
IV. Arts and Humanities
2015-2016
VI. Health and Fitness
A. Literature
ENGL 301 Themes in Literature (Juniors and Seniors only)
A. Health
One course from the following:
FDNT 235 Nutrition, HLED 162 Fitness for Life,
HLED 166 Health Ed, HLED 169 Current Concerns
B. Art, Music, Philosophy, Lang. & Culture
Three courses from the following:
Course #1 (from a separate subsection)
Course #2 (from a separate subsection)
Course #3 (from a separate subsection)
Subsection 1. Visual Art
ARTH 107 America in Art, ARTH 115 Hist/Western Art I,
ARTH 116 Hist/Western Art II, ARTH 278 Women in Art
Subsection 2. Music
MUHL 105 Survey of Music, MUHL 115 Music/Vis Media,
MUHL 206 Music/Chr Worship, MUHL 245 World Music
Subsection 3. Philosophy
PHIL 101 Intro Philosophy, PHIL 390 Hist/Phil of Science,
PHIL 485 Iss Science/Religion, PLSC 274 Political Thought,
RELT 320 Philosophy of Religion
Subsection 4. Language and Culture
CHIN 111 Beg Chinese L&C, FREN 111 Beg French L&C,
GRMN 111 Beg German L&C, ITAL 111 Beg Ital L&C,
JAPN 111 Beg Japenese L&C, SPAN 111 Beg Spanish L&C
This option may only be met through an approved collegelevel language and culture course. Demonstrated language
proficiency will not be applied to meet this requirement.
B. Fitness
Four courses from the following:
ESAC-A Course
ESAC Course
ESAC Course
ESAC Course
A portion of the fitness requirement may be waived for
students who transfer a significant amount of coursework
from non-Adventist colleges and universities. Contact the
Records Office for details.
VII. Practical and Applied Arts
4 total hours from the options below
Include courses from at least 2 different sections
A. Information Management
CPTR 105 Intro/Cptrs, INFS 144 PC Oper Syst,
INFS 147 PC Word Proc, INFS 148 PC Spreadsheets,
INFS 149 PC Databases
B. Interpersonal Skills
COMM 223 Interpers Comm, COMM 226 Pub Speak,
PSYC 126 Assert Behav, PSYC 227 Conflict Resolution
V. Math and Science
A. Science
Two courses from the following:
Course #1 (must include a lab- bolded courses)
Course #2 (must be from the other subsection)
Subsection 1. Physical Science
ASTR 115 Astronomy, CHEM 101 Intro Chemistry,
CHEM 102 Survey of Org Chem, CHEM 111 Gen Chem,
GEOL 233 Geology, PHYS 105 Introduction to Physics,
PHYS 111 General Physics, PHYS 211 Physics w/ Calculus
Subsection 2. Life and Environmental Science
BIOL 101 Human Anatomy, BIOL 102 Human Physiology,
BIOL 105 Intro to Biology, BIOL 111 Biol Foundations,
BIOL 112 Biol Foundations, BIOL 113 Biol Foundations,
BIOL 227 Nat Hist of California, BIOL 338 Field Biology,
CHEM 481 Biochem I, ENVR 360 Conserv Biology,
ENVR 361 Energy/Climate, ENVR 362 Pollution & Envr,
MICR 134 Microbiology
C. Management of Personal Finance
ACCT 121 Accounting, BUAD 118 Prsnl Money Mgmt,
BUAD 223 Personal Law, MGMT 160 Small Bus Mgmt
D. Outdoor and Survival Skills
AGRI 212 Greenhouse, AGRI 213 Vegetable Gardening,
AVIA 101 Intro to Flight, EMER 180 Tech Rescue,
EMER 280 Rescue & Survival, ESTH 365 Outdoor Exp
E. Visual and Performing Arts
ARTF 100W, 101W, 102W Painting Workshops*,
ARTF 121 Drawing Fund, ARTF 212 Ceramics I,
ARTP 100W Photo Workshop*, ARTP 150 B&W Photo,
ARTP 250 Digital Photo, DRMA 229 Acting I,
DRMA 232 Movement, DRMA 241 Production Cred,
MUEN (any) Music Ensembles,
MUSP 120-4 Music Lessons (class) or MUSP 320-4
MUSP 162 Music Lessons (individual) or MUSP 362
B. Scientific & Mathematical Reasoning
One course (may be from either subsection)
Subsection 1. Science Engaging Society
BIOL 355 Issues/Origins, GSCI 205 Scientific Discoveries,
PHYS 390 Hist/Phil of Science, PHYS 485 Science/Religion
Subsection 2. Mathematical Reasoning
(Note- Calculus I is a pre-requisite to all of these courses.)
MATH 132 Calculus II, MATH 265 Elem Linear Algebra,
MATH 275 Logic and Sets, MATH 451 History of Math
* Workshops offered at Albion Field Station during the summer.
55
Pacific Union College
A-05
Summary of General Education Requirements, B. Music Degree
2015-2016
The following sections may be completed in any order.
However, please note that you must complete a 200-level
religion course within your first two years of enrollment
at PUC. This is a prerequisite to enrollment in any upperdivision religion courses.
The Purpose of General Education
The general education program at Pacific Union College seeks
to provide students with the knowledge, values, and skills they
need to live Christ-centered, productive lives of integrity and
service in a complex world.
• A knowledge of human cultures and the natural world;
• Seventh-day Adventist Christian values, including integrity,
justice, compassion, and wholeness;
• The following skills:
- To communicate effectively in written and spoken English;
- To think critically and creatively about information, ideas,
and arguments;
- To locate and use appropriately a broad variety of resources
and information; and
- To learn and work collaboratively.
C. Building Scriptural Foundations
One course from the following:
RELB 200 Methods/Bible Study, RELB 225 Books/Moses,
RELB 230 Psalms/Wisdom Lit, RELB 250 Parables/Jesus,
RELB 260 Heroes/Villains, RELB 265 Kings/Conquest,
RELB 270 Acts of the Apostles, RELB 310 Prophets/Israel,
RELB 320 Women/Bible, RELB 328 Jesus & the Gospels,
RELB 342 Biblical Books, RELB 460 Paul & his Letters,
RELT 205 Christian Beliefs
D. Exploring SDA Life & Thought
One course from the following:
RELB 370 Studies/Daniel, RELB 371 Studies/Revelation,
RELH 235 Ellen G White, RELH 360 Adventist Heritage,
RELP 351 Ministry of Healing, RELT 220 SDA Beliefs,
RELT 335 Theology/Sanctuary, RELT 336 Current Issues,
RELT 337 Last Day Events, RELT 338 The Sabbath
The General Education Program as summarized on this sheet
is designed for a quick overview. The program is described in
full in the General Catalog.
2
I. Foundations of Learning
E. Integrating Faith and Life
One course from the following:
RELB 315 Biblical Ethics, RELP 235 Sharing Your Faith,
RELP 350 Christian Ministry, RELT 216 Intro/Chr. Ethics,
RELT 235 Christian Spirituality, RELT 240 Eco-theology,
RELT 330 Christian/Media, RELT 335 Chr. Ethics/Society,
RELT 350 Special Topics, RELT 440 Christian Bioethics
Psychology/Social Work Students Only:
PSYC/SOWK 490 Religion, Ethics, & Human Sciences
These requirements should be completed by the end of the
freshman year and must be completed by the end of the
sophomore year.
A. College Writing
ENGL 101 College English
ENGL 102 College English
B. Oral Communication
COMM 105 Intro to Communication
A portion of the religion requirement may be waived for
students who transfer a significant amount of coursework
from non-Adventist colleges and universities. Contact the
Records Office for details.
C. Quantitative Reasoning
One of the following options:
1 year of HS Alg. II with semester grades of C- or better, or
Waiver Exam, or
MATH 095+096 Basic Algebra I+II
III. History and Social Sciences
II. Foundations of Faith
A. History
One sequence from the following:
Course #1
Course #2 (must be from same sequence as Course #1)
HIST 101+102 History of World Civilizations
HIST 134+135 History of the U.S.
18 total hours of religion coursework
Include 9 hours from RELB and RELT courses
Include 6 hours from upper-division courses
Include each subsection described below
A. Prerequisite
One of the following options:
High school religion courses with grades of C- or better, or
Waiver Exam, or
RELT 105 Introduction to the Bible
This requirement must be completed within the first two
quarters of enrollment at PUC.
B. Social Sciences
One course from the following:
ANTH 124 Anthropology, ECON 261 Macroeconomics,
ECON 265 Microeconomics, GEOG 210 World Geog,
HIST 351 Hist of Culture, MKTG 360 Consumer Behavior,
PLSC 124 Intro Amer/Govt, PLSC 328 Critical World Iss,
PSYC 121 General Psych, PSYC 390 Gender Issues,
SOCI 121 Intro to Sociology, SOCI 214 The Family,
SOCI 232 American Social Problems,
SOCI 355 “Racial” and Ethnic Relations
B. Encountering Jesus
RELB 150 Encountering Jesus
This requirement must be completed within the first year of
enrollment at PUC.
s
56
Pacific Union College
A-05
Summary of General Education Requirements, B. Music Degree
2015-2016
VI. Health and Fitness
IV. Arts and Humanities
A. Health
One course from the following:
FDNT 235 Nutrition, HLED 162 Fitness for Life,
HLED 166 Health Ed, HLED 169 Current Concerns
A. Literature
ENGL 301 Themes in Literature (Juniors and Seniors only)
B. Art, Music, Philosophy, Lang. & Culture
One course from the following (included in major)
MUHL 105 Survey/Music, MUHL 115 Music/Visual Media
MUHL 245 Intro/World Music
For students majoring in music education, HLED 166 is
required.
One course from the following (from any subsection)
Visual Art
ARTH 107 America in Art, ARTH 115 Hist/Western Art I,
ARTH 116 Hist/Western Art II, ARTH 278 Women in Art
Philosophy
PHIL 101 Intro Philosophy, PHIL 390 Hist/Phil of Science,
PHIL 485 Iss Science/Religion, PLSC 274 Political Thought,
RELT 320 Philosophy of Religion
Language and Culture
CHIN 111 Beg Chinese L&C, FREN 111 Beg French L&C,
GRMN 111 Beg German L&C, ITAL 111 Beg Ital L&C,
JAPN 111 Beg Japenese L&C, SPAN 111 Beg Spanish L&C
This option may only be met through an approved collegelevel language and culture course. Demonstrated language
proficiency will not be applied to meet this requirement.
B. Fitness
Four courses from the following:
ESAC-A Course
ESAC Course
ESAC Course
ESAC Course
A portion of the fitness requirement may be waived for
students who transfer a significant amount of coursework
from non-Adventist colleges and universities. Contact the
Records Office for details.
VIII. Foreign Language
Required only for students majoring in voice performance
1 year sequence in French, German, or Italian
V. Math and Science
A.-B. Science; Scientific and Mathematical
Reasoning
Two courses from the following:
Course #1 (must include a lab- bolded courses)
Course #2 (must be from a different subsection)
Subsection 1. Physical Science
ASTR 115 Astronomy, CHEM 101 Intro Chemistry,
CHEM 102 Survey of Org Chem, CHEM 111 Gen Chem,
GEOL 233 Geology, PHYS 105 Introduction to Physics,
PHYS 111 General Physics, PHYS 211 Physics w/ Calculus
Subsection 2. Life and Environmental Science
BIOL 101 Human Anatomy, BIOL 102 Human Physiology,
BIOL 105 Intro to Biology, BIOL 111 Biol Foundations,
BIOL 112 Biol Foundations, BIOL 113 Biol Foundations,
BIOL 227 Nat Hist of California, BIOL 338 Field Biology,
CHEM 481 Biochem I, ENVR 360 Conserv Biology,
ENVR 361 Energy/Climate, ENVR 362 Pollution & Envr,
MICR 134 Microbiology
Subsection 3. Science Engaging Society
BIOL 355 Issues/Origins, GSCI 205 Scientific Discoveries,
PHYS 390 Hist/Phil of Science, PHYS 485 Science/Religion
Subsection 4. Mathematical Reasoning
(Note- Calculus I is a pre-requisite to all of these courses.)
MATH 132 Calculus II, MATH 265 Elem Linear Algebra,
MATH 275 Logic and Sets, MATH 451 History of Math
57
Pacific Union College
A-07
Summary of General Education Requirements, A.S. Degree
C. Understanding Christian Faith and Foundations
One course from the following:
Elective course from RELB, RELH, RELP, or RELT.
The following courses are recommended:
RELT 105
Intro to the Bible (if required in section A)
RELB 200
Methods of Bible Study
RELB 225
Books of Moses
RELB 230
Psalms and Wisdom Literature
RELB 250
Parables of Jesus
RELB 260
Heroes and Villains
RELB 265
Kings and Conquest
RELB 270
Acts of the Apostles
RELB 310
Prophets of Israel
RELB 320
Women of the Bible
RELB 328
Jesus and the Gospels
RELB 342
Biblical Books
RELB 460
Paul and His Letters
RELT 205
Christian Beliefs
The Purpose of General Education
The general education program at Pacific Union College seeks
to provide students with the knowledge, values, and skills they
need to live Christ-centered, productive lives of integrity and
service in a complex world.
• A knowledge of human cultures and the natural world;
• Seventh-day Adventist Christian values, including integrity,
justice, compassion, and wholeness;
• The following skills:
- To communicate effectively in written and spoken English;
- To think critically and creatively about information, ideas,
and arguments;
- To locate and use appropriately a broad variety of resources
and information; and
- To learn and work collaboratively.
The General Education Program as summarized on this sheet
is designed for a quick overview. The program is described in
full in the General Catalog.
2
2015-2016
D. Exploring SDA Life and Thought
One course from the following:
RELB 370
Studies in Daniel
RELB 371
Studies in Revelation
RELH 235
Ellen G White
RELH 360
Adventist Heritage
RELP 351
Ministry of Healing
RELT 220
Seventh-day Adventist Beliefs
RELT 335
Theology/Sanctuary
RELT 336
Current SDA Issues
RELT 337
Last Day Events
RELT 338
The Sabbath
Requirements
Requirements I, II, and III should be completed by the end
of the freshman year and must be completed by the end of
the sophomore year.
I. College Writing
ENGL 101
College English
A portion of the religion requirement may be waived for
students who transfer a significant amount of coursework
from non-Adventist colleges and universities. Contact the
Records Office for details.
II. Oral Communication
COMM 105 Intro to Communication
III. Quantitative Reasoning
One of the following options:
1 year of HS Alg. II with semester grades of C- or better, or
Waiver Exam, or
MATH 095+096 Basic Algebra I+II
V. Health
One course from the following:
FDNT 235
Nutrition
HLED 162
Fitness for Life
HLED 166
Health Education
HLED 169
Current Concerns
IV. Religion
9 total hours of religion coursework
Include 6 hours from RELB and RELT courses
Include each subsection described below
VI. Fitness
ESAC-A Course
ESAC Course
A. Prerequisite
One of the following options:
High school religion courses with grades of C- or better, or
Waiver Exam, or
RELT 105
Introduction to the Bible
This requirement must be completed within the first two
quarters of enrollment at PUC.
A portion of the fitness requirement may be waived for
students who transfer a significant amount of coursework
from non-Adventist colleges and universities. Contact the
Records Office for details.
VII. Electives
See other side.
B. Encountering Jesus
RELB 150
Encountering Jesus
This requirement must be completed within the first year of
enrollment at PUC.
58
Pacific Union College
A-07
Summary of General Education Requirements, A.S. Degree
VII. Electives
Two electives (each from a separate subsection):
Course #1 (from a separate subsection)
Course #2 (from a separate subsection)
2015-2016
Section C. Science, Mathematics, Statistics
ASTR 115
Astronomy
BIOL 101
Human Anatomy
BIOL 102
Human Physiology
BIOL 105
Introduction to Biology
BIOL 111
Biological Foundations
BIOL 112
Biological Foundations
BIOL 113
Biological Foundations
BIOL 227
Natural History of Calif
BIOL 338
Field Biology
BIOL 355
Issues in Origins
CHEM 101
Introductory Chemistry
CHEM 102
Survey of Organic Chemistry
CHEM 111
General Chemistry
CHEM 481
Biochemistry I
ENVR 360
Conservation Biology
ENVR 361
Energy and Climate Change
ENVR 362
Pollution and Environmental Quality
GEOL 233
Geology
GSCI 205
Scientific Discoveries
MATH 132
Calculus II
MATH 265
Elementary Linear Algebra
MATH 275
Logic and Sets
MATH 451
History of Mathematics
MICR 134
Microbiology
PHYS 105
Introduction to Physics
PHYS 111
General Physics
PHYS 211
Physics with Calculus
PHYS 390
History and Philosophy of Science
PHYS 485
Issues in Science and Religion
STAT 222
Introduction to Statistics
Section A. History & Social Science
ANTH 124
Cultural Anthropology
ECON 261
Macroeconomics
ECON 265
Microeconomics
GEOG 210
World Regional Geography
HIST 101
History of World Civilizations
HIST 102
History of World Civilizations
HIST 134
History of the U.S.
HIST 135
History of the US
HIST 351
History of Culture
MKTG 360
Consumer Behavior
PLSC 124
Introduction to American Government
PLSC 328
Critical World Issues
PSYC 121
General Psychology
PSYC 390
Gender Issues
SOCI 121
Introduction to Sociology
SOCI 214
The Family
SOCI 232
American Social Problems
SOCI 355
“Racial” and Ethnic Relations
Section B. Literature, Art, Music, Philosophy, Language
ARTH 107
America in Art
ARTH 115
History of Western Art I
ARTH 116
History of Western Art II
ARTH 278
Women in Art
ENGL 301
Themes in Literature (Jrs and Srs only)
MUHL 105
Survey of Music
MUHL 115
Survey of Music for Visual Media
MUHL 206
Music in Christian Worship
MUHL 245
Introduction to World Music
PHIL 101
Introduction to Philosophy
PHIL 390
History and Philosophy of Science
PHIL 485
Issues Science and Religion
PLSC 274
Introduction to Political Thought
RELT 320
Philosophy of Religion
Any college-level language course
(CHIN, FREN, GRMN, ITAL, JAPN, RELL, SPAN, etc)
59
Index
Aldag, Richard---------------------------------------------30
Arts Scholarship, Creative------------------------------25
A.S.----------------------------------------------------1, 52-53
Attire Guidelines------------------------------------------18
Audition Guidelines---------------------------------6-7, 25
Auditorium (Usage Policy)----------------------26, 38-39
B.Mus.Ed---------------------------------------------1, 46-47
B.Mus.Perf.------------------------------------------1, 48-49
B.Mus. Performance and Education----------------4 - 5
B.S.----------------------------------------------------1, 50-51
B.S. Recital - non-degree---------------------------------16
Band Room (Instrumental Rehearsal Hall)----------26
Bates, Glenda-----------------------------------------------30
Bell, Charles------------------------------------------------30
Big Band (Jazz Ensemble)-------------------------------22
Biographies-Faculty and Staff----------------------30-34
Boyles, Matthew-------------------------------------------30
Brass Ensemble--------------------------------------------22
Brass Quintet-----------------------------------------------22
Building Hours---------------------------------------------30
Case, Del W.------------------------------------------------34
Certificate of Achievement-------------------------------29
Chamber Ensembles--------------------------------------22
Choral Audition-------------------------------------------23
Choral Room-----------------------------------------------26
Chorale--------------------------------------------------21-23
Cohen, Joel--------------------------------------------------30
Collins, Walter----------------------------------back cover
Computer Lab (Usage Policy)----------------------26, 37
Concert & Recital Attendance--------------------------12
Concert List----------------------------------------------ii-iii
Creative Arts Scholarship-------------------------------25
Credit Hour Policy------------------------------------------3
Curriculum Guides-----------------------------------46-59
Davis, Rachelle Berthelsen-------------------------------30
Degree Recital-Audition and Requirements-----16-20
Degrees Offered-------------------------------------1, 46-59
Deitz, James------------------------------------------------31
Dress Code--------------------------------------------------18
Dropbox.com ---------------------------inside front cover
Dunbar, Linda----------------------------------------------31
Electronic PDFs------------------------inside front cover
Ensemble Overload Waiver-----------------------------22
Ensemble Auditio Requirements-----------------------23
Ensembles-----------------------------------------------21-23
Entrance Audition-------------------------------------2, 6-7
Entrance Examinations----------------------------------13
Estabrook, Pete--------------------------------------------30
Evaluation, Sophomore ---------------------------------3-4
Examinations-------------------------------------------13-14
Exit Interview----------------------------------------------14
Facilities-------------------------------------------------26-27
Faculty & Staff-----------------------------------------30-34
Fees, Music Lesson-------------------------------------8, 24
Financial Information------------------------------------24
Ford, Anita--------------------------------------------------31
Foreign Language Study-----------------------------------4
Formal Jury---------------------------------------------10-11
General Education Requirements------------------54-59
General Student Recital----------------------------------16
Glass, Sadie------------------------------------------------ -31
GNST 401----------------------------------------------------14
Gospel Choir------------------------------------------------22
Guitar Ensemble-------------------------------------------21
Halbe, Steve-------------------------------------------------32
Handbell Choir---------------------------------------------22
Health &Safety---------------------------------------------24
Helmer, Auriel----------------------------------------------32
History, A Brief---------------------------------------------35
Honors and Social Groups-------------------------------29
Hunt, Jennifer----------------------------------------------32
I Cantori-------------------------------------------------21-23
Instrumental Rehearsal Hall----------------------------26
Instruments-------------------------------------------------27
Jazz Ensemble----------------------------------------------22
Jobs for Students------------------------------------------24
Joint Recitals-------------------------------------------16-20
Junior Recital------------------------------------------16-20
Juries---------------------------------------------------------10
Jury Comments & Exceptions--------------------------10
Kempster, James-------------------------------------------34
Key Charge-------------------------------------------------24
Key Deposit-------------------------------------------------24
Keyboard Ensemble--------------------------------------21
Keyboard Exam (PPT) ------------------------------13-14
Kitchenette (Usage Policy)-------------------------------27
Knight, Heather J.------------------------------back cover
Lawrence, Dave---------------------------------back cover
Lecourt, Nancy---------------------------------back cover
Learning Outcomes--------------------------------1, 42-45
Lesson Fees----------------------------------------------8, 24
Lessons, Private-------------------------------------------8-9
Lewis Scholarship-----------------------------------------25
Libraries - Music--------------------------------------26-27
Listening Exams-------------------------------------------14
Lockers---------------------------------------------------26-27
Loye Organ Scholarship---------------------------------25
Lloyd, Kristin ----------------------------------------------32
Mackett Brass Scholarship------------------------------25
Major Letter -----------------------------------------------12
Marks, Linda-----------------------------------------------32
Mayes Scholarship----------------------------------------25
McGee, James----------------------------------------------34
Mendle, Jon-------------------------------------------------32
Mercer, James----------------------------------------------34
MFAT--------------------------------------------------------14
Milholland, John-------------------------------------------33
Moore, Edwin-----------------------------------------------33
Music Club--------------------------------------------------28
Music Education Major-----------------------------4-5, 46
Music Lessons---------------------------------------------8-9
Music Libraries----------------------------------------26-27
Music Major---------------------------------------1-7, 46-59
Music Performance Rubric------------------------------45
Music Purchasing------------------------------------------24
Music Scholarship-----------------------------------------25
Office Hours------------------------------------------------26
Orchestra----------------------------------------------------21
Orchestra Audition----------------------------------------23
Patrick, Rachel---------------------------------------------33
Paulin Center for the Creative Arts--------------------28
Paulin Hall----------------------------------------------26-27
60
Paulson, Lisa Bissell----------------------------back cover
PCCA---------------------------------------------------------28
PDFs---------------------------------------inside front cover
Performance Class----------------------------------------16
Peterson, LeRoy--------------------------------------------33
Pi Kappa Lambda-----------------------------------------29
Piano Proficiency Test (PPT)----------------------------13
Portfolio------------------------------------------------------15
Post-graduate Jobs ----------------------------------------24
Practice Hours-----------------------------------------------9
Practice Rooms (Usage Policy)---------------------27, 36
Private Music Lessons-----------------------------------8-9
Program Level SLO Rubrics------------------------42-45
Quarterly Report------------------------------------------14
Raboy, Asher------------------------------------------------33
Rasmussen, Bruce -----------------------------------------33
Rasmussen, Heidi ------------------------------------------34
Rasmussen, Rosalie----------------------------------------34
Receptions-------------------------------------------17, 38-41
Recital Attendance----------------------------------------12
Recitals--------------------------------------------------16-20
Repertoire Classes-----------------------------------------16
Repertoire Sheet-------------------------------------------10
Repertoire Requirements for Scholarship------------25
Scholarships------------------------------------------------25
Senior Project----------------------------------------------16
Senior Recital-------------------------------------------16-20
SLO (Student Learning Outcomes)-------------1, 42-45
Sophomore Evaluation-------------------------------------3
Statement of Personal Goals------------------------------4
String Ensemble, Introductory--------------------------22
Student Employment--------------------------------------24
Student Learning Outcomes (SLOs)------------1, 42-45
Student Teaching------------------------------------------4-5
Summer Internships---------------------------------------24
Symphonic Wind Ensemble------------------------------21
Symphonic Wind Ensemble Audition-----------------23
Teacher Placement------------------------------------------5
Tests------------------------------------------------------13-14
Theory Placement Examination------------------------13
Theta Zeta---------------------------------------------------29
Tyner, Jennifer----------------------------------back cover
Upper Division Lessons -----------------------------------9
Wheeler, Lynn----------------------------------------------34
Wilkes, Eve-Anne------------------------------------------34
Williams, DeBrina-----------------------------------------34
ADMINISTRATION
Heather J. Knight, Ph.D., President
Nancy Hoyt Lecourt, Ph.D., Vice President for Academic Administration and Academic Dean
Dave C. Lawrence, Ed.D., M.B.A., Vice President for Financial Administration and Chief Financial Officer
Lisa Bissell Paulson, Ed.D., Vice President for Student Services and Dean of Students
Jennifer Tyner, M.A., Vice President for Marketing and Enrollment Services
Walter Collins, B.A., Vice President for Advancement
MUSIC FACULTY
Phone
6214
6655
7137
6623
6627
7323
Edwin Moore, PhD.
Chair (Acting)
Rachelle Berthelsen Davis, D.M.A.
Violin/Viola, Orchestra, Music History, Conducting
Asher Raboy, M.F.A.
Symphonic Wind Ensemble, Theory, Conducting, Music Technology, Survey of Music
Bruce Rasmussen, M.Mus.
Chorale, I Cantori, Organ, Voice, Conducting
Rosalie Rasmussen, M.Mus.
Piano, Music Education, Theory, Handbells, PCCA Director
C. Lynn Wheeler, D.M.A.
Piano, Music History, Theory
ADJUNCT MUSIC FACULTY
6204
6201
6204
6204
6204
6201
6204
6628
6201
6204
6203
6651
6201
6654
6651
6201
6204
6626
6205
6204
6201
Richard Aldag, Ph.D - Teaches Survey of Music
Glenda Bates, M.Mus. - Jazz Ensemble
Charles V. Bell, Ph.D. - Oboe
Matthew Boyles, M.Mus. - Clarinet, Theory I
Joel Cohen, B.Mus. - Cello
James Deitz, M.Mus. - Percussion
Pete Estabrook, M.F.A. - Trumpet
Anita Ford, A.S. - Piano
Glass, Sadie, M.Mus. - Horn
Steve Halbe, B.A. - Woodwind
Auriel Helmer, B.Mus.Ed. - Piano, harp (PCCA only)
Jennifer Hunt, B.Mus. - Flute (PCCA only)
Kristin Lloyd, M.Mus. - Harp
Linda Marks, B.Mus. - Violin, Viola
Jonathan Mendle, M.Mus. - Guitar
John Milholland - Euphonium, French Horn, Trombone
Rachel Patrick, M.Mus. - Violin, chamber ensemble
LeRoy Peterson, M.Mus. (Emeritus) - Violin, Viola, History, Conducting
Heidi Rasmussen, B.Mus. - Piano, Violin, Voice
Eve-Anne Wilkes, D.M.A. - Voice
DeBrina Williams - Teaches Gospel Choir
6201
Linda L. Dunbar, Office Manager