DIVISION OF MUSIC STUDENT HANDBOOK 2014-­‐2015 OKLAHOMA BAPTIST UNIVERSITY WARREN M. ANGELL COLLEGE OF FINE ARTS KEN GABRIELSE, DEAN RANDOLPH JOHNSON, CHAIR, DIVISION OF MUSIC 1 OKLAHOMA BAPTIST UNIVERSITY WARREN M. ANGELL COLLEGE OF FINE ARTS DIVISION OF MUSIC MUSIC STUDENT HANDBOOK 2014-­‐2015 Welcome, new students, and welcome back, returning students, to the 2014-­‐2015 year in the Division of Music at Oklahoma Baptist University! The members of the music faculty are delighted that you have chosen to further your education on Bison Hill and we look forward to helping you discover, articulate, and subsequently achieve the goals that Christ has prepared for you and put before you. The music faculty is delighted to introduce you to our two newest faculty members: Mr. Justin Pierce, Instructor of Instrumental Music and Director of the Bison Jazz Orchestra; and Dr. Kathy Scherler, Assistant Professor of Music Education. Mr. Pierce will soon receive his doctorate from the University of North Texas. He brings OBU a wealth of jazz and classical performance experience, along with a strong sense of business savvy necessary for his frequent jazz combo and big band gigs. Dr. Scherler , a native Oklahoman, has 15 years of teaching experience at the elementary, middle, and high school levels, combined; and 10 years of teaching experience in higher education. She is also skilled in arts administration, curriculum design, and transcribing/arranging Native American music. Just by writing this paragraph, I already feel spurred on to learn more about music—even if you are not taking a class with Mr. Pierce or Dr. Scherler this year, you will want to seek them out for a conversation. Don’t miss out! The Music Student Handbook may be updated from time to time to reflect changes to degrees requirements; staffing; contact information; and Division policies. Refer to the on-­‐line copy for the most up to date information, and keep in mind that the music faculty is here to guide you. Some of the best questions and answers are not in a handbook—or any book for that matter! Ask challenging questions of yourselves, of your peers, and your teachers. During this 2014-­‐2015 academic year, the music faculty will be praying for God’s abundant grace to abound to you. And God is able to make all grace abound to you, so that always having all sufficiency in everything, you may have an abundance for every good deed. 2 Corinthians 9:8 (NASB) In Christ alone, Randolph Johnson, Chair OBU Division of Music 2 Table of Contents NASM ACCREDITATION ................................................................................................................................................ 5 FACILITIES .................................................................................................................................................................... 6 GENERAL INFORMATION FOR MUSIC STUDENTS .......................................................................................................... 7 ACCESS TO FACILITIES .............................................................................................................................................................. 7 ADVISORS ............................................................................................................................................................................. 7 CHANGING APPLIED TEACHERS ................................................................................................................................................. 7 CHANGING DEGREES ............................................................................................................................................................... 7 CHANGING ENSEMBLES ........................................................................................................................................................... 7 CHECKING OUT CHORAL MUSIC ................................................................................................................................................ 8 CHORAL ENSEMBLES ............................................................................................................................................................... 8 COMPOSERS’ DATES FOR PROGRAMS ........................................................................................................................................ 8 COPYING MUSIC .................................................................................................................................................................... 8 DEGREE PLANS ...................................................................................................................................................................... 8 DROPPING/ADDING CLASSES ................................................................................................................................................... 8 FACULTY MAIL BOXES ............................................................................................................................................................. 9 FOOD AND DRINKS ................................................................................................................................................................. 9 GENERAL RECITALS ................................................................................................................................................................. 9 LISTENING CENTER ................................................................................................................................................................. 9 LOCKER RENTAL ..................................................................................................................................................................... 9 PAYING ACCOMPANISTS FOR PRACTICE TIME .............................................................................................................................. 9 PLEDGING BY ENSEMBLES ........................................................................................................................................................ 9 PRACTICING ........................................................................................................................................................................ 10 PRIVATE TEACHING ............................................................................................................................................................... 10 RECITAL ATTENDANCE ........................................................................................................................................................... 10 RECORDING ......................................................................................................................................................................... 10 SCHEDULING JUNIOR OR SENIOR RECITALS .................................................................................................................................. 3 SCHOOL-­‐OWNED EQUIPMENT .................................................................................................................................................. 3 STUDENT WORKERS: PAYMENT ............................................................................................................................................... 3 TELEPHONE CALLS .................................................................................................................................................................. 3 OFFICE AND SUPPORT STAFF INFORMATION ................................................................................................................ 4 FULL-­‐TIME FACULTY ..................................................................................................................................................... 4 ADJUNCT FACULTY ....................................................................................................................................................... 6 REFLECTIONS ON THE FRESHMAN YEAR: ...................................................................................................................... 7 NAXOS ONLINE MUSIC LISTENING LIBRARY .................................................................................................................. 8 NAXOS MOBILE APP ........................................................................................................................................................... 8 JUNIOR/SENIOR RECITAL PROCEDURES ........................................................................................................................ 9 RECITAL HEARINGS ................................................................................................................................................................. 9 KEYBOARD ............................................................................................................................................................................ 9 VOICE .................................................................................................................................................................................. 9 INSTRUMENTAL ...................................................................................................................................................................... 9 COMPOSITION ..................................................................................................................................................................... 10 CHECKLIST FOR STUDENT RECITALISTS ........................................................................................................................ 11 SCHEDULING RECITALS .......................................................................................................................................................... 12 SENIOR RECITAL ................................................................................................................................................................... 12 PERFORMANCE DEGREE RECITALS ........................................................................................................................................... 12 LITERATURE ......................................................................................................................................................................... 12 3 ACCOMPANISTS ................................................................................................................................................................... 13 RECITAL PROGRAMS ............................................................................................................................................................. 13 FEES FOR RECITALS ............................................................................................................................................................... 13 HARPSICHORD ..................................................................................................................................................................... 13 RECITAL REHEARSALS ............................................................................................................................................................ 14 USHERS AND STAGE ASSISTANTS ............................................................................................................................................. 14 FLOWERS AND STAGE DECORATIONS ....................................................................................................................................... 14 STAGE SET-­‐UP & CLEAN-­‐UP ................................................................................................................................................... 14 PICTURES ............................................................................................................................................................................ 14 RECORDING EQUIPMENT ....................................................................................................................................................... 14 RECEPTIONS ........................................................................................................................................................................ 15 STUDENT RECITAL REQUEST FORM .............................................................................................................................. 16 STUDENT RECITAL PUBLICITY INFORMATION .............................................................................................................. 17 REQUEST FOR RECITAL “ASSIST” STATUS ..................................................................................................................... 18 APPLIED MUSIC REPERTOIRE ....................................................................................................................................... 19 GENERAL RECITAL REQUEST ........................................................................................................................................ 20 PERFORMANCE BARRIER EXAM PROCEDURES ............................................................................................................. 21 SOPHOMORE VOICE BARRIER ................................................................................................................................................. 21 SOPHOMORE KEYBOARD BARRIER ........................................................................................................................................... 21 SOPHOMORE INSTRUMENTAL BARRIER .................................................................................................................................... 21 KEYBOARD DEPARTMENT FORMS ............................................................................................................................... 22 SERVICE OPPORTUNITIES SPONSORED BY THE DIVISION OF MUSIC: ............................................................................ 24 DEGREES ..................................................................................................................................................................... 26 4 NASM Accreditation Oklahoma Baptist University is a member of the National Association of Schools of Music (NASM). This organization was founded in 1924 to set minimum standards for granting of music degrees, to standardize methods of granting credit, and to promote a greater understanding among schools of music. NASM sets high standards for its members with respect to faculty qualifications, curriculum, library holdings, facilities, and equipment. The Dean of the College of Fine Arts, Dr. Ken Gabrielse and the Chair of the Division of Music, Dr. Johnson, represent OBU at the association’s annual meeting. Dr. Vernon is also an NASM visitor, meaning he is selected from time to time to visit other schools and report to the NASM Commission on Accreditation regarding how a particular school is meeting NASM standards. The United States Department of Education recognizes NASM as the agency responsible for the accreditation of all music curricula. The Council on Post-­‐Secondary Accreditation has designated NASM responsible for accreditation of music curricula in higher education. NASM is a constituent member of the American Council and the National Music Council and cooperates with the National Council for Accreditation for Teacher Education. After a visit by NASM representatives in the Fall of 2003, the OBU Division of Music was granted full accreditation of degree programs through the 2013-­‐2014 academic year. This past spring (March 2-­‐5, 2013), NASM representatives visited the OBU Division of Music as we participated in the reaccreditation process. The visitors were very detailed in their report—giving praises in many areas and constructive criticism in other areas that will help us build a stronger future. During the Fall 2014 semester, the Division of Music faculty will be preparing a response to the visitors’ report. In November 2014, we anticipate, God willing, that the NASM board will vote to grant OBU full accreditation through the 2023-­‐4 academic year. 5 Facilities JOHN WESLEY RALEY CHAPEL Raley Chapel is the primary home of the OBU Division of Music, as well as the office of the Dean of the College of Fine Arts. Built in 1962 and completed in 1972, Raley Chapel was most recently renovated during the 1999-­‐2000 academic year. The Chapel houses performing spaces, faculty offices and studios, classrooms, several practice rooms, choral and instrumental rehearsal spaces, and the Music Technology Lab. The primary features of the building are: POTTER AUDITORIUM Utilized for weekly chapel services, Potter Auditorium is also the venue for large performance settings such as Symphonic Band concerts, Concerto-­‐Aria, OBU Orchestra concerts, and other large-­‐scale productions. The room seats nearly 1,800 and features a 54-­‐rank Reuter organ. YARBOROUGH AUDITORIUM Our principle recital hall, Yarborough Auditorium seats 380 and was updated in the 1999-­‐2000 renovation with new lights, sound, seats, and stage extension. Small ensemble, guest artist, faculty, and student recitals are held in this facility. FINE ARTS/DIVISION OF MUSIC OFFICES Found on the west wing of the building, the Fine Arts and Division of Music Offices are here to serve students, faculty, and guests in needs relating to the College of Fine Arts. The offices are open from 8:00-­‐12:00 and 1:00-­‐
5:00 each weekday. FORD MUSIC HALL Ford Music Hall is our primary practice room facility, as well as housing a choral rehearsal room and studios and classrooms for the OBU Preparatory Department. The building is open late each night for student practicing and has extended hours during juries and finals week. 6 General information for music students Access to Facilities Access to Raley Chapel is available to students when the building is open, generally 7:00 a.m. to 11:00 p.m. M-­‐
F and other times on weekends. The practice rooms in Raley, as well as the Band Hall, remain open when the building is open. Students do not have access to classrooms, faculty offices and studios, auditoriums, or any other part of the building without the permission of a music faculty member. Students needing access to specific parts of the building should contact the music office for permission. Custodial staff and security staff are not allowed to give unauthorized access to anyone without the permission of a music faculty member. Advisors Your primary academic advisor is your applied performance teacher. For music education majors your secondary advisor is Dr. Scherler; for church music majors your secondary advisor is Dr. Hinson. For composition majors your primary advisor is Dr. Vernon. Please feel free to discuss any academic issue with your advisor and seek help from the Division Chair if needed. Enrollment periods (usually November and April each year) are times when you should prepare your schedule for the next semester and discuss it with your advisor. In general you should strive to keep track of your own degree plans, needed courses, and other details, since faculty often have many advisees with which to track. Changing Applied Teachers Students must remain with their assigned teacher for at least two semesters. After that time, if you wish to change teachers, you may obtain a form from the fine arts office. To request a change of teacher, speak with the teacher with whom you wish to study, talk with your current teacher, and have all parties sign the form. Changing Degrees If you have decided to change degrees (either a change of major or minor), then consult with your advisor and then see Mrs. Beckett in the Fine Arts Office. It is important that we have an accurate record of your degree plan and your assigned advisor. Changing Ensembles The directors of auditioned choral and instrumental ensembles plan their year around the new and returning members who participate during the fall semester. Students must remain in ensembles for one entire school year. Switching ensembles after one semester is prohibited. All voice principals are required to participate in at least two years of University Chorale. 7 Checking Out Choral Music The choral music files reside in RC 116 and may be checked out through the student workers. The charge for unreturned music is $1.50 per copy. Choral Ensembles Students who have attained junior status may audition and participate in more than one choral ensemble. Students should first discuss the decision to audition and participate with their advisor and also consult with the director (or directors) of the chosen ensembles to make sure there are no major scheduling conflicts. All voice principals are required to participate in at least two years of University Chorale. Composers’ Dates for Programs Listing composers’ birth and death years is required for all recital programs. Several reference books will help you: Baker’s Biographical Dictionary of Musicians (available for use in the fine arts office), Maurice Hinson’s Guide to the Pianist's Repertoire, Sergius Kagen’s Music for the Voice, The New Grove Dictionary of American Music, and Grove’s Dictionary of Music and Musicians. You must turn in composer’s dates for General Recitals as well as your junior/senior recitals. Copying Music Copyright laws do not permit the copying of music for any purpose. Students may not copy music on the Fine Arts Office Xerox machine. Please do not put the Fine Arts staff in an awkward position by requesting music to be copied. OBU assumes no liability for copying materials in violation of the federal law. Copyright laws protect the composer and the publisher of music who have invested time, energy, and resources into generating this music. While copyright law does provide for certain instances where educational institutions can make partial copies of materials, in general the rule you should follow is “am I avoiding purchasing this music by copying it?” If the answer is yes, then you are violating copyright law. Degree Plans The Fine Arts Office keeps copies of all degree plans on file. In addition, this Handbook has copies of all the degree plans and checks that have been recently updated. See Miss Dowler or your advisor for information about any music degree. Dropping/Adding Classes You are required to receive your advisor’s signature on each drop/add card you use. In the event you cannot reach your advisor please see the Division Chair or the Dean of Fine Arts for help. 8 Faculty Mail Boxes These are located in the Fine Arts Office. If you need to leave a note or other material for a faculty or staff member please feel free to use these boxes. Food and Drinks The consumption of food and drinks are not permitted in any classroom or hallway in Raley Chapel. The Faculty-­‐Student Lounge is available for students to eat, use the microwave, and the refrigerator at all hours the building is open. Lockers are located in this room and may be rented by the semester through the Fine Arts Office. Faculty meetings and committees have scheduling priority at noon and occasionally at 10:00 a.m. MWF. Please help the faculty and staff keep the building looking as good as possible. General Recitals When your applied teacher asks you to perform on General Recital, pick up and submit the General Recital form to the Fine Arts Office by 5 p.m. on Monday for a Friday recital or by 5 p.m. on Wednesday for a Monday recital. You must turn in complete information including the composer dates, correct spellings, your accompanist, and correct degree information. The program will be printed with the information you turn in. Listening Center The Listening Center in the Mabee Learning Center is available for your use at the posted hours and provides a number of services to you as a music student. Please see the LC staff for a full list of services, hours, and regulations for recording and use of facilities. Locker Rental Miss Dowler assigns lockers. There is no rental fee; however, you must supply your own lock. Paying Accompanists for Practice Time We are fortunate to have a professional staff accompanist and several student accompanists to support studio instruction. OBU pays accompanists for studio time, but you are responsible for practice time outside of your scheduled lesson. Student accompanists receive $7.25/hr., and the professional staff accompanists receive $20/hr. The recital fee for junior and senior recitals includes a limited amount of practice time (see recital instruction sheet). Pledging by Ensembles Because ensembles are academic credit courses whose purposes are to further the professional musical preparation of students and to represent the university in an official capacity and because of the legal responsibility of the University to enforce the law, ensembles must not engage in any pledging activities. Any 9 rituals intended to welcome students into an ensemble must be devoid of hazing, specifically those activities which require the new member to perform duties for or to become subservient to the active member. Any and all activities which are off-­‐campus must be performed in the presence of the entire group and the director. Any student who violates this directive may be suspended from the group and/or may be recommended to the Dean of Students for disciplinary suspension. The Green Book quotes Oklahoma Statutes, Section 3 of Section 1190, Title 21 (quoted in the OBU Student Green Book, 2013 edition). Practicing Ford Music hall practice rooms are open daily from 7:00 am until 12:00 pm Sunday through Thursday and from 7:00 am until 7:00 pm Friday and Saturday. During the last two weeks of classes, Ford remains open each evening until midnight. Food and drinks must never be taken into Ford Music Hall at any time. Two instrumental practice rooms are available in Raley Chapel. Schedules are posted on the doors of classrooms in Raley Chapel for available practice times. If you have an upcoming recital or performance, you may schedule practice times in Yarborough through the Fine Arts Office. Piano principals may schedule practice times on the grand pianos in Ford Music Hall and Raley Chapel with Dr. Dean. Private Teaching OBU students may not teach privately in Raley Chapel and Ford Music Hall classrooms or practice rooms unless they are supervised by a faculty member or are fulfilling requirements of pedagogy courses. Approval must be given by the Dean of Fine Arts or the Director of the Preparatory Program. Recital Attendance Music students are required to attend a certain number of recitals for six semesters in the course of study. Information about recitals and attendance requirements will be given out at the first music student meeting soon after school begins. Dr. Johnson is the coordinator for recital attendance issues. Recording The Division of Music routinely records student recitals, ensemble performances, and other events in which students are involved. These recordings are used primarily for archival purposes, as a copy of each performance is sent to the Listening Center and catalogued by the Mabee Learning Center. The Division of Music will not record performances involving students to disseminate them (1) for purposes of profit, (2) for wide dissemination outside of campus, or (3) for any on-­‐line or electronic dissemination. The Division of Music will secure permission from each student involved if one of these three situations were to become necessary. By enrolling in the programs connected to the Division of Music and participating in ensembles and other campus performances, the student gives the University rights to record and archive performances. 10 Scheduling Junior or Senior Recitals Submit a request form to Mrs. Beckett by April 15 for a fall recital or October 1 for a spring recital. Be sure to indicate your accompanist's and partner's names. You will receive complete information about your responsibilities for all aspects of your program after your date has been approved. School-­‐Owned Equipment School-­‐owned equipment must remain in its original place on campus unless you have express permission of the instructor in charge of that equipment. Audio/visual equipment is not available for off-­‐campus use and is available for on-­‐campus use on a very limited basis. Student Workers: Payment Each teacher for whom you work or accompany is responsible for turning in your hours to the Music Division Secretary every two weeks. If you are a student worker you should make sure the teacher for whom you are working knows when payroll sheets are due and how much you have worked. Paychecks are ready on alternate Fridays and may be picked up at the cashier's window in Thurmond Hall. Telephone Calls There is a phone located in the north hallway of the lower level of Raley Chapel which may be used for campus and local calls only. Please do not ask to use the phones in the Fine Arts Office unless there is an emergency. 3 Office and Support Staff Information Music Division Office Phone ext. 4301 Music Division Fax 405-­‐585-­‐4305 Music Division E-­‐mail music@okbu.edu Office Location Fine Arts Office, Raley Chapel West Wing Office Hours 8:00 a.m. to noon, 1:00 p.m. to 5:00 p.m. Staff: Ken Gabrielse, Dean, College of Fine Arts ..................................... ext. 4300 Joylynn Beckett, Fine Arts Secretary ............................................. ext. 4300 Randolph Johnson, Chair, Division of Music .................................. ext. 4313 Haylee Dowler, Division of Music Secretary .................................. ext. 4301 Area Coordinators: Ryan Meeks ............................................................................. Instrumental Kathy Scherler .................................................................... Music Education Michael Dean ................................................................................. Keyboard James Vernon ................................................................................. Fine Arts Randolph Johnson ................................................ Theory and Composition Louima Lilite ......................................................................................... Voice Lee Hinson .............................................................................. Church Music Brent Ballweg ..................................................................................... Choral Full-­‐Time Faculty BALLWEG, BRENT Professor Burton Patterson Professor of Music BM, Oklahoma Baptist University; MM, Southwestern Baptist Theological Seminary; DMA, University of Missouri-­‐Kansas City Conservatory of Music Director of Choral Activities; University Chorale; Bison Glee Club CHUNG, MARY Assistant Professor BM, North Greenville University; MM, DMA, University of Southern Mississippi Piano 4 DEAN, MICHAEL Associate Professor BM, BA, Minnesota State University Moorehead; MM, DMA, University of Oklahoma Coordinator, Keyboard; Class Piano, Piano, Piano Pedagogy GABRIELSE, KEN Dean/Professor BSM, William Jewell College; MCM, DMA, New Orleans Baptist Theological Seminary HANSFORD, CONCHITA Assistant Professor BM Mississippi University for Women; ME Wayland Baptist University Director of Preparatory Department; Music Education; Church Music HINSON, LEE Professor BME, Baylor University; MA; MM, East Texas State University; Southwestern Baptist Theological Seminary; DMA, New Orleans Baptist Theological Seminary Coordinator, Church Music; Fine Arts JOHNSON, RANDOLPH Assistant Professor BSOF, Indiana University; MA, PhD, Ohio State University Chair, Division of Music; Coordinator, Music Theory and Composition; Low Brass LILITE, LOUIMA Associate Professor BM, Biola University; MM, Pennsylvania State University; DMA, Eastman School of Music Coordinator, Voice; Music Theater; Fine Arts MCQUADE, JENNIFER Associate Professor BM, Mount Allison University; Artist Diploma, University of Western Ontario; MM McGill University; DA, University of Mississippi Voice; Vocal Diction MCQUADE, MARK Assistant Professor BM, Oberlin College Conservatory of Music; MM, University of Oklahoma; DA, University of Mississippi Music Theater; Voice; Vocal Pedagogy MEEKS, RYAN Instructor of Music BME, University of Oklahoma; MM, Oklahoma City University; PhD (ongoing), University of Oklahoma Director of Bands; Horn PIERCE, JUSTIN Instructor of Music BM, McNeese State University; MM, University of North Texas; DMA (ongoing), University of North Texas Bison Jazz Orchestra; Saxophone PURIN, PETER Assistant Professor BA, Elmhurst College; MA, University of Minnesota; PhD, University of Kansas Music Theory; Coordinator, Music Technology; Music Theater 5 SCHERLER, KATHY Assistant Professor BA, Cameron University; MM, Texas A&M; PhD, University of North Texas Music Education STAUFFER TODD, KRISTEN Professor BM, Baylor University; MM, University of North Texas; PhD, University of Kentucky Music History; Fine Arts VERNON, JAMES Professor BA, Old Dominion University; MM, DMA, Southwestern Baptist Theological Seminary Theory and Composition; Director, Bisonette Women’s Glee Club WHITMORE, KEITH Assistant Professor BM, Hardin-­‐Simmons University; MM, U. of North Texas, DMA, University of Oklahoma Staff Accompanist, Piano Adjunct Faculty FELLER, CARLOS Adjunct Instructor of Flute HANSFORD, JIM Shawnee Community Orchestra ISAACS, JONATHAN Adjunct Instructor of Guitar GOFORTH, DR. STEVEN Adjunct Professor of Trumpet MURRAY, HANNAH Adjunct Instructor of Violin NEGRON, CASSANDRA Adjunct Professor of Oboe PARTRIDGE, NORMA Adjunct Assistant Professor of Voice Petit, TJ Adjunct Instructor of Bassoon WOLMACK, PATRICK Adjunct Instructor of Percussion 6 Reflections on the Freshman year: From day one on Bison Hill, people have been apologizing that I am a music major and commenting that I don't have a life to the point where I actually believed them. Sometime this semester it clicked: I actually do have a life. It’s a music major life and tends to be crazy busy, but it’s a life. Not only that, I love it! I love going to recitals and concerts all the time and hearing the growth in my friends' talents. I love having an academic challenge when I face Aural Skills and Theory. I love being vocally challenged and encouraged to practice my trumpet even though it’s not my major. I love the random shenanigans (I absolutely love that word) with friends both inside and outside of Ford/Raley. I've enjoyed the times of spontaneous worship or acts of kindness that come from a Christian campus. As a matter of fact, I have a lot of time. I just fill it with what I love-­‐-­‐friends, music, and Christ. Beth Clark, OBU class of 2017 7 Naxos Online Music Listening Library Naxos log-­‐in instructions: 1. Go to the Mabee Learning Center (MLC) home page: http://www.okbu.edu/library/ 2. Click on the link near the top of the page: Articles and Digital Book Databases 3. Click on the tab for the letter "N" 4. Click on the link to "Naxos Music Library" 5. Log in using your Novell credentials (if signing on from ResNet or from out of town) Naxos enjoyment instructions: • Explore things like composers' names pronunciation under the Resources tab • Search by your favorite record label – you are not an official music major until you have a top five list of favorite record labels! • Search by keywords in the search bar. • Even better search by advanced search • How many works for "zapateados" or "amplified conch shell bubbles" or "cristal baschet" are available? NAXOS MOBILE APP 1. You can log in to the mobile app using the same email and password you use to create personal playlists in NML. If you have not yet activated the personal playlist option, follow these steps: a. First, access NML, as described above, from a computer b. Click on the “Playlists” link in the gray menu bar near the top of the page. c. Select “Sign Up” in the upper right corner of the “Student/Member Playlists” bar. d. Follow the on-­‐screen instructions. An activation email will be sent to the address provided. e. Check your inbox and follow the instructions in the activation email. It is possible that the email may end up in your junk folder. 2. Download the NML Mobile app by “Naxos Digital Services Ltd.” from the App Store (it is free and under the iPhone category ONLY) 3. Once the playlist account has been activated and the mobile app has been installed, you can use your username and password to log in to the mobile app. 8 Junior/Senior Recital Procedures Recital Hearings The following are procedures specific to the various performance areas regarding Recital Hearings. For additional information, please contact the coordinator of the respective performance area. Keyboard Keyboard recital hearings are scheduled approximately four (4) weeks in advance of the approved recital date. The student and his/her teacher should complete the Recital Hearing Approval Form and submit it to Dr. Dean, who will work with the student and the keyboard faculty to find a mutually acceptable time for the hearing. Keyboard faculty will hear the program in its entirety and make a decision immediately after the hearing. The hearing form is signed by all keyboard faculty and (1) approved, (2) a re-­‐hearing scheduled, or (3) the student must complete another hearing with a new recital date. Voice Voice recital hearings occur at the student's voice jury the semester before they are to give the voice recital. Two-­‐thirds (2/3) of the recital literature is required to be prepared and performance-­‐ready to qualify for a recital hearing. If a re-­‐hearing is requested, it must occur no later than four weeks prior to the recital date. All recital literature must be prepared and performance-­‐ready at the rehearing. If the re-­‐hearing is not passed, the recital will be canceled, postponed, or rescheduled in consultation with the student, the private instructor, and/or the voice faculty. BME students will be encouraged to study privately with their voice teacher during the fall semester of their senior year, thereby allowing them to give their senior recital in their senior year. This will give the student another year of technical and musical maturity, which will ultimately result in a more complete recital. In this case, the recital hearing would take place during the regularly scheduled voice jury times at the end of the fall semester of the senior year. However, if a BME student wishes to seek recital approval for the spring semester of their junior year, they will only be allowed to do so with the approval of their private instructor. In this case, the recital hearing would take place at the student’s jury during the fall semester of the junior year. Instrumental In the Wind, String, and Percussion area, students are required to schedule their recital hearing four (4) weeks prior to the recital. Their applied teacher and two other instrumental faculty are usually present in the hearing. The student should work with their applied instructor to complete and submit the Recital Hearing Approval Form to Mr. Meeks. Mr. Meeks will work with the student and instrumental faculty to find a mutually acceptable time for the hearing. 9 Instrumental faculty hear the program in its entirety and make a decision immediately after the hearing. The hearing form is signed by all instrumental faculty and (1) approved, (2) a re-­‐hearing scheduled, or (3) the student must complete another hearing with a new recital date. Composition Recital hearings are not required for composition majors, due to the difficulty of pulling a disparate group of performers together more than one time for the recital. Composition recitals are judged primarily on the content (composition) of the program, not the performance. 10 CHECKLIST FOR STUDENT RECITALISTS _____ 1. _____ 2. _____ 3. _____ 4. _____ 5. _____ 6. _____ 7. _____ 8. _____ 9. Schedule fall recitals by April 15 and spring recitals by October 1. Consult your teacher, your partner, and your accompanist. List three dates in order of preference. A literature approval form should be on file in the Fine Arts Office following the recital hearing. Submit final copy to the Fine Arts Office at least 4 weeks in advance of the recital. Have your teacher initial this copy. Be sure both partners submit programs at the same time. Programs must also be submitted in a Word file using the template provided by the Fine Arts Office. Do not change fonts used in the template. Correct spelling, composer dates, and all information included on the program are your responsibility. A hard copy also needs to be turned in. Contact the Fine Arts Office for a template for your program. Complete recording and harpsichord request (if applicable) forms. These are available in the Fine Arts office. There is an additional fee for the harpsichord ($75) which covers tuning. Schedule practice times in the recital hall through the Fine Arts Office. Reserve reception room, punch bowl, glass or silver trays. Order stage flowers if desired. Flowers may not be placed on the piano or presented at the conclusion of the recital. Pick up your programs in the Fine Arts Office and put them in the recital hall. After the recital: return flower stand to florist; return lights to original position, return punch bowl and trays. All punch bowls and trays need to be returned the day after your recital so that they are available for other students/groups. 11 Scheduling Recitals Fall recitals must be requested by April 15; spring recital requests must be received by October 1. Three dates listed in order of preference are required. Student recitals are scheduled on Tuesday or Thursday evenings. If a student can show cause for scheduling a Sunday recital, then this will be considered by the Faculty Program Committee. All recital dates must be approved by the Faculty Program Committee. When two student recitals occur on the same evening, they normally begin at 7:00 pm and 8:30 pm. The names of all performers and accompanists and the time for each selection must appear on the request form before a date will be assigned. Accompanists’ schedules receive consideration when building the calendar. Senior Recital The 30-­‐minute senior recital is the standard requirement for all music degrees, except for performance degrees, and is open to the public. Most recitals are shared by two students. The exception is the Honors Recital. This permits students with exceptional performance ability in degrees other than the Bachelor of Music to give a full, unassisted recital. To do so, the student must request and receive permission by the end of their Junior year of study. Students enroll for 0 credit hours in the course Senior Recital under the number appropriate to the performance medium. Performance Degree Recitals The senior recital for a performance degree is one hour in length, and the student receives one semester hour credit. The junior recital for the vocal performance and the piano pedagogy major consists of 25 minutes of music, and the hour is shared with another student. The junior recital for the piano performance major is 50 minutes of music. The students enroll in recital (0-­‐1 credit) according to their degree requirements. Literature Recital literature is selected in consultation with the applied teacher. The final decision as to the composition of the program rests with the teacher. The total time for a joint recital or performance recital shall not exceed 60 minutes, allowing a minimum of 50 minutes for music with adequate time for entrances, exists, and stage alterations. A literature approval form should be on file in the Fine Arts Office following the recital hearing. 12 Accompanists Accompanists are assigned by Dr. Dean. OBU pays student accompanists for time spent in lessons, rehearsals called by the teacher, and recitals. Student accompanists are paid by the hour. Staff accompanists receive $40.00 for a half recital or an assist which includes 2 hours of rehearsal in the hall and $80.00 for a full recital and 3 hours of rehearsal in the hall. These amounts as well as the cost of programs will be included in the student’s bill for recital expenses. The cost of any additional rehearsal is the responsibility of the student. The fee for student accompanists is $7.25/hour; staff accompanists receive $20/hour for practice beyond that included in the recital fee. Recital Programs A Word document of recital programs must be submitted at least four (4) weeks in advance of the recital, even if you have not yet passed your hearing. Contact the Fine Arts Office for a template to use to create your program. Applied teachers and students should proofread this copy carefully for diacritical marks, names, dates (see below), etc. All programs MUST BE printed on white paper and must use the OBU format. Proofing the final copy is the responsibility of the student and the applied teacher. Late program changes or careless proofing errors will increase the student’s cost for the program. Listing composers’ full names and dates is necessary to help the audience place the music in the proper style period. Consult Baker’s Biographical Dictionary, Grove’s Dictionary of Music and Musicians, Kagen’s Music for the Voice or Hinson’s Guide to the Pianist’s Repertoire. A copy of Baker’s is available in the fine arts office, but may not be checked out. A late fee of $5.00 per day will be charged for programs that are not received by the Fine Arts Office four weeks prior to the recital. It is the student’s responsibility to pick up printed recital programs from the office and have them available in the recital hall. Fees for Recitals Costs for recording, program printing, and accompanists are shared by recitalists. The recording fee is $15.00; program charges vary with the length and number printed. Recital recordings are archived in the Mabee Learning Center’s Media Center. Staff Accompanists receive $40.00 per half recital or assist and $80.00 per full recital. See below for harpsichord fee. Harpsichord Those recitalists using either harpsichord will be charged an additional $75 to cover the cost of tuning. The cost will be divided among performers whenever the tuning schedule permits. Harpsichords are notoriously difficult to keep in tune and may have to be retuned between recitals. 13 Recital Rehearsals Yarborough Auditorium may be reserved for recital preparation according to the following guidelines: ü Vocalists and instrumentalists: Half Recital – twice for one hour each ü Vocalists, instrumentalists and composition students: Full Recital – three times for one hour each ü Pianists – four times, for one hour each Only students preparing for scheduled recitals may practice in Yarborough. THE AUDITORIUM MAY NOT BE USED AS A PRACTICE ROOM. Ushers and Stage Assistants Ushers and a stage assistant are provided by Kappa Kappa Psi and SAI. They will take care of all details concerning programs and stage set up. Questions should be addressed to Kappa Kappa Psi or SAI. Flowers and Stage Decorations Flowers and plants may not be placed on the piano. Recitalists must return plant stands to the owner promptly. Those who have recitals the same evening may wish to share the cost of floral displays. Stage Set-­‐up & Clean-­‐up It is the responsibility of the recitalist to clear the stage of any props, instruments, or extra equipment immediately following the recital as a courtesy for the next recital, concert, or event that will take place on the stage. Please do not leave equipment or items on the stage following rehearsals or the recital that will interfere with other performances and classes that take place in the auditorium. Pictures Flash pictures may not be taken during recitals. Please arrange for photos BEFORE a 7:00 o’clock program if an 8:30 recital follows. Recording Equipment The use of outside recording equipment is prohibited in on-­‐campus performances unless approved by the Division of Music prior to any performance. In the case of student recitals, the video recording by family members and/or friends is permitted as long as the student performer agrees to be recorded, and all other students involved in the performance agree to be recorded. The Division of Music and the University is not responsible for the dissemination of such video recordings in these instances. 14 Receptions Receptions may be scheduled in Raley Chapel room 142, the Student/Faculty Lounge, or the Geiger Center. If Raley Chapel 142 is used, all desks and chairs must be returned to their proper positions, all debris picked up, and all spills reported to the custodians. Please take all trash bags to the dumpsters on the parking lot north of the Chapel. These rooms are usually available after 6:00 p.m. Check with Ms. Hall about scheduling use of these rooms. Check with the Geiger Center’s director to schedule a reception there. Food is restricted to punch and cookies only. The punch must be prepared in the same room as the reception. A punch bowl, glass and silver trays are available to use for receptions held in Raley Chapel. They must be reserved in advance, signed out and returned. Any items not returned will be charged to the recitalist’s account. 15 For Office Use Only: Date Submitted: ___________ Student Recital Request Form General Information Name ____________________________ Applied Teacher ____________________ Voice Classification or Instrument ________________________________________ Accompanist _________________________________________________________ Degree (circle): Church Music Performance BME BMA Type of Recital (circle): Junior Senior Honor II.
Dates and Times Day Date Time 1. __________ _______________________ ______________________ 2. __________ _______________________ ______________________ 3. __________ _______________________ ______________________ III.
Combined Recitals Each student must submit a recital request form. Students wishing to share a recital must coordinate date and time requests with all parties including students, accompanists, and applied teachers. Please name the student with whom you would prefer to share the recital. Student Teacher Accompanist _______________________ ___________________ __________________________ IV.
Faculty Approval (signature required) Applied Faculty ______________________________ Applied Faculty of student sharing recital ___________________________________ Return this form to the Fine Arts Secretary by April 15 for fall recitals or by October 1 for spring recitals. The program committee will determine the recital calendar for the following semester once all student recital request forms have been submitted or immediately following the deadline. 16 I.
Student Recital Publicity Information Directions: Please read the entire sheet before beginning to fill out the blanks. Name ________________________________________________________________________ Home Address _________________________________________________________________ Major ____________________________________ Minor ______________________________ Professor _________________________________ Recital Date/Time _____________________ Parents’ Names _________________________________________________________________ Address _______________________________________________________________________ Hometown Newspaper __________________________________________________________ Academic Honors at OBU (Honor rolls, scholarships, awards, etc.) ________________________ Membership in Organizations at OBU (Social clubs, honor fraternities, etc.) _________________ Offices Held (Organizations, classes, student government) ______________________________ Special Activities (Plays, special recitals, programs, public relations appearances, etc.) Future Plans ___________________________________________________________________ If married, give name and hometown of husband/wife: ________________________________ Children (Ages and names) _______________________________________________________ Important: Please attach a complete program for your recital. 17 REQUEST FOR RECITAL “ASSIST” STATUS Name __________________________________________ FR SO JR SR (Please Circle) Degree _________________________________________ Applied Area _________________ Applied Teacher Recommendation _______________________________________________________ “Assist” Status is: ______ Approved, ________ Not Approved Recital Hearing Chairperson ___________________________________________________________ Applied Coordinator _________________________________________________________________ 18 APPLIED MUSIC REPERTOIRE Subject _________ Teacher _________________ Student_________________________________ Course No. ________ Credit Hours ______________ Degree _______________________ Applied Major ___________ Semester _________ Year ___________ Date Assigned
Composition
Composer
Memory
Performance
Dates
Jury Examination: Material Heard __________________________________________ __________________________________________ __________________________________________ Exam Grade ________ Committee: __________________________________________________________________________ 19 General Recital Request RECITALS WILL BE FILLED ON A FIRST COME/FIRST SERVE BASIS. ALL INFORMATION ON THE PROGRAM WILL BE TAKEN FROM THIS SHEET. PLEASE MAKE SURE ALL INFORMATION IS GIVEN, COMPLETE AND CORRECT. Recital Date _____________________________ Length of Performance ____________________ Title___________________________________ ________________________________ ________________________________ ________________________________ Composer_______________________________ Date of Composer________________________ Student Name___________________________ Instrument/Voice Part ____________________ Classification____________________________ Degree_________________________________ Teacher________________________________ Accompanist___________________________
If instrumental ensemble, please list names and instruments below: ___________________________________________________________________
_________________________________________________________________ DEADLINES: FRIDAY RECITAL: MONDAY BEFORE AT 5:00 P.M. MONDAY RECITAL: TUESDAY BEFORE AT 5:00 P.M. 20 Performance Barrier Exam Procedures Sophomore Voice Barrier Any student pursuing a BM, BME, BMA, or BMCM degree and having voice as his/her primary instrument must successfully complete a barrier examination at the end of his/her sophomore year of study (i.e., after 11, 7, or 8 hours of applied voice study, respective of the chosen degree plan). The exam must be passed in order for the student to continue in his/her specified degree program and be admitted to the junior level of applied voice study. Transfer students will take the sophomore vocal barrier exam when they have completed or have been granted credit for the number of required credit hours of applied voice (required by OBU) that equals those for the barrier of their chosen degree (i.e., 8 or 11 credit hours). If a transfer student has already completed the number of required credit hours at another college or university, the sophomore barrier exam will serve as his/her entrance exam into the specified degree program. Sophomore Keyboard Barrier Any student pursuing a BM, BME, BMA or BMCM degree and having piano as his/her primary instrument must successfully complete a barrier examination at the end of their sophomore year of study (i.e., after 12 or 8 hours of applied study, respective of the chosen degree plan). The exam must be passed in order for the student to continue in his/her chosen degree program and be admitted to the junior level of applied piano study. Transfer students will take the sophomore piano barrier exam when they have completed or have been granted credit for the number of required credit hours of applied piano (required by OBU) that equals those for their chosen degree. If a transfer student has already completed the number of required credit hours at another college or university, the sophomore barrier exam will serve as his/her entrance exam into the specified degree program. Sophomore Instrumental Barrier At the end of the fourth semester of private lessons, all students enrolled in the Bachelor of Musical Arts program, Bachelor of Music Education program, and Bachelor of Music in Church Music program must pass a sophomore barrier on their major instrument. This must be done prior to enrollment in upper level applied music courses. The content of this performance will be determined by the studio professor. The quality of the student's performance at this time will be used by the jury to assist in evaluating whether the student should be permitted to continue in his or her intended music degree program. Students may attempt the sophomore barrier a second time if unsuccessful the first time. Failure to pass the sophomore barrier a second time will preclude a student from continuing in the chosen degree program, and the instrumental faculty will submit a strong recommendation for a change of major track to a Bachelor of Arts in Music, if the student is academically qualified and upon approval of the coordinator and the division chair, or to a different major in another academic discipline. 21 Keyboard Department Forms KEYBOARD DEPARTMENT ADMISSION TO BM PIANO PERFORMANCE and BM with PEDAGOGY EMPHASIS BMA, BME, BMCM (One copy of this form for each adjudicator should be brought to the Piano Jury) Name________________________________Studio _______________Date__________ Solo Performances while in college: __________________________________________ _______________________________________________________________________ _______________________________________________________________________ Collaborative or accompanying experience while in college: _______________________ ________________________________________________________________________ ________________________________________________________________________ GPA_______________ Music GPA________________ Vocational Goals__________________________________________________________ ________________________________________________________________________ COMMENTS: ADJUDICATOR_________________________________ Composite Grade_____________________ Approved_____________ NOT Approved_________ Rehearing Requested__________________ Scholarship Approval YES_____NO______ Scholarship Raised______Lowered______ 22 KEYBOARD DEPARTMENT ADMISSION TO BM PIANO PERFORMANCE and BM with PEDAGOGY EMPHASIS BMA, BME, BMCM (One copy of this form for each adjudicator should be taken to the Piano Jury. Requirements must be completed by end of sophomore year. Exception for transfers; consult with advisor or chair.) Name ________________________Studio ______________Semester__________20___ Degree: Performance___________ Performance/Pedagogy________ Course No: ______________________Credit ________ Year: SOPH TRANSFER REPERTOIRE SINCE FIRST SEMESTER: * FOR THIS HEARING Should encompass 5 major style periods. Attach separate sheet if necessary. ___________________________________ __________________________________ ___________________________________ __________________________________ ___________________________________ __________________________________ ___________________________________ __________________________________ ___________________________________ __________________________________ ___________________________________ __________________________________ ___________________________________ __________________________________ ___________________________________ __________________________________ TECHNIQUE LEVELS PASSED * MORE THAN ONE TRY ________________________________________________________________________ ________________________________________________________________________ SIGHT READING SKILL ________________________________________________________________________ ________________________________________________________________________ 23 Service Opportunities sponsored by the Division of Music: Ensemble Run-­‐outs: Minister in churches with your music ensembles. Prep Program: There is always a need for assistance with teaching choirs and other duties in the prep program. Gain valuable experience while assisting in the prep department. Contact Conchita Hansford if interested. OSSAA Choral Contests: We serve the Oklahoma education community two days each April by running the state choral and ensemble contests. Enjoy yourself with OBU music faculty and fellow students while we serving Oklahoma music teachers! Contact Dr. Scherler or Miss Dowler for more information. Student-­‐Run Chamber Groups: Form your own student group and perform in schools, churches, retirement homes, etc. Mission Shawnee -­‐ local outreach in South Shawnee, primarily working with kids Mission Center -­‐ goes to the Mission Center in OKC on Friday nights to work with kids and their families. Hope House -­‐ works with kids at a shelter here in Shawnee Harvest Farms -­‐ works with special needs kids and horses here in Shawnee Spero Project -­‐ works with refugees, teaching English, American life skills, etc. in OKC Age to Age -­‐ works at the Nursing Home behind Unity. Philos -­‐ is relational with international students from OBU and St. Gregory. Good Shepherd Chapel: Concerned about the whole person, Good Shepherd Chapel attempts to share the good news about Jesus as well as make sure the electric bills are paid and the cabinets are filled with groceries. Volunteers can help in classrooms, in the kitchen, spending time with students throughout the week and playing games with them in the gym. KAIROS Prison Ministry: OBU staff and students addressing the spiritual needs of incarcerated men, women and children, their families, and those who work in the prison environment. Volunteer Action Committee: Short-­‐term service projects form when needs are discovered in the Shawnee area each semester. SGA's Volunteer Action Committee connects OBU students with these needs. 7:57 Volunteer Leadership Team: Mentoring and outreach programs are developed each year with the Pott-­‐Lincoln Baptist Association and the Ministerial Alliance and schools of Shawnee. 24 Habitat for Humanity: An ecumenical Christian housing organization that works in partnership with people in need to build and renovate decent, affordable housing. Volunteers provide most of the labor to build Habitat houses. Blitz Week: One week in the spring; lives changed forever. Blitz Week adopts a different organization every year in order to increase awareness of their service and assist them financially. Join in and make a difference. Family Promise: Mobilizing the faith community to help homeless families with children regain their self-­‐sustainability. Volunteer anything from one evening a week to once or twice a semester. 25 Degrees The OBU Division of Music offers a wide variety of degrees and degree options for students, as well as a minor in music. BACHELOR OF MUSIC DEGREES Bachelor of Music (BM) and Bachelor of Music Education (BME) degrees are considered professional degrees in higher education, as they prepare students for professional settings in the areas of concentration. They are considered either pre-­‐graduate school degrees or those in which the student who completes the course of study is prepared to enter the profession. OBU offers the following BM and BME degrees: BM, Church Music BM, Composition BM, Piano Performance BM, Piano Performance with Piano Pedagogy Emphasis BM, Vocal Performance BME, Vocal Endorsement BME, Instrumental Endorsement BACHELOR OF MUSICAL ARTS DEGREE The Bachelor of Musical Arts (BMA) degree is a very flexible degree for the music student. It allows a student to pursue a professional-­‐level bachelor’s degree in music while completing a minor in a field outside of music. The BMA is an accredited degree and recognized nationwide for admittance to graduate study. Students may choose to minor in any available campus minor (see the OBU Academic Catalog for a list of these minors). All BM, BME, and BMA students complete extensive training in music performance and present public senior recitals. Students may concentrate in one of the following areas: Composition Piano Voice Instrumental Music Worship Arts BACHELOR OF ARTS DEGREE The Bachelor of Arts (BA) degree is designed for the student who wants music as their major course of study, yet desires to utilize OBU’s rich heritage in liberal arts offerings. A BA student may choose piano, voice, or instrumental music as their principle area of applied study. 26