Western Illinois University
SCHOOL OF MUSIC
FACULTY
HANDBOOK
Academic Year 2015-2016
1
SCHOOL OF MUSIC ORGANIZATIONAL STRUCTURE
Academic Year 2015-2016
Administrative
Undergraduate Studies/Advising
Moisés Molina,
Jeff Brown (UMCA)
Graduate Studies/ Advising
Brian Locke (FL 2015)
Anita Hardeman
Performance/Public Relations
Joanie Herbert
Equipment/Inventory
Chad Walker – Instrumental/General;
Rick Kurasz – Concert Percussion;
Kevin Nichols – Marching/Jazz Perc.
Terry Solomonson – Sound Equipment
Music Advisory Council
Bart Shanklin- Director;
Moisés Molina-Asst. Dir./U.Studies;
Courtney Blankenship-Music Business;
Bruce Briney- Winds/ Percussion Area
James Caldwell- Theory/ Composition
Terry Chasteen- Voice/Choral Area;;
John Cooper- Jazz Studies Brian
Michael Fansler-Ensembles;
Anita Hardeman-Humanities/History
Jennifer Jones*(FL 2015)- Music
Therapy;
Christine Lapka- Music Education;
Locke* (FL 2015) - Grad.
Studies/Hum.Hist.;
Julieta Mihai – Strings Area
Tammie Walker-Keyboard Area;
Director: Bart Shanklin
Assistant Director: Moisés Molina
Office Administrator, Budget & Personnel Matters:
Tammy Fretueg
Office Administrator, University Ensembles:
Karla White
Recruitment Coordinator:
Trista Trone
Instrument Technician:
Chad Walker
Piano Technician :
Anthony Lang
Recital Hall Manager:
Joanie Herbert
Academic/Program Areas
Ensemble Areas
Committees (cont.)
Professional Programs
Music Education –
Richard Cangro
Christine Lapka
Adrianna Marshall
Bands
Michael Fansler-Director of Bands;
Matthew Thomas-Assoc. Dir. of Bands;
John Cooper-Jazz Studies
Vocal
James Stegall- Director of Choirs;
Jonathan Saeger - C.Choir
Angela Hand- Opera;
Lynn Thompson-Madrigals
Music Business –
Courtney Blankenship
Music Therapy –
Jennifer Jones (FL 2015)
Eileen Garwood
Orchestral/Strings
Richard Hughey-Director of Orchestras;
Jazz Studies
John Cooper – Coordinator;
Bruce Briney, Matt Hughes, Kevin Nichols,
John Mindeman, Michael Stryker, George
Turner, John Vana
Committees
History/Humanities
Brian Locke* (FL 2015), Coordinator
Rich Cangro, Anita Hardeman, Douglas Huff,
Matt Hughes, John McMurtery, Julieta Mihai,
Paul Paccione, Terry Solomonson, Istvan
Szabo, George Turner
Keyboard
Tammie Walker – Coordinator;
Jeff Brown, Michael Stryker, Accompanying
staff –Minjung Seo, Po-Chuan Chiang, and
Liang yu Wang
Orchestra/Strings
Julieta Mihai – Coordinator;
Matt Hughes, Richard Hughey, Adrianna
Marshall, Moisés Molina, Istvan Szabo
Theory/Composition
James Caldwell – Coordinator;
Michael Ericson, Paul Paccione, James Romig
Recruitment Committee
Bart Shanklin – Convener, Courtney
Blankenship, Bruce Briney, John
Cooper, Michael Fansler, Randall
Faust, Richard Hughey, Rick Kurasz,
Moises Molina, James Stegall, Matt
Thomas, Trista Trone,
COFAC Exec. Planning Comm.
Representative
TBA
Graduate Studies
Brian Locke* (FL 2015)– Chair;
Richard Cangro, John Cooper, Michael
Fansler, Eric Ginsberg, Richard Hughey,
Paul Paccione,James Stegall, Tammie
Walker,
Bart Shanklin (ex-officio)
Voice/Choral
Terry Chasteen – Coordinator;
Matt Bean,Angela Hand, Mary Kay Karn,
Jonathan Saeger, Penny Shumate, James
Stegall, Lynn Thompson, Bart Shanklin
Undergraduate Studies
Moisés Molina – Chair;
Courtney Blankenship, Jeffrey Brown,
Terry Chasteen, Anita Hardeman,
Jennifer Jones* (FL 2015), Christine
Lapka, James Romig, Bart Shanklin (exofficio)
Winds/Percussion
Bruce Briney – Coordinator, John Cooper,
Michael Ericson, Michael Fansler, Randall
Faust, Eric Ginsberg, Douglas Huff, Rick
Kurasz, John Mindeman, John McMurtery,
Kevin Nichols, Terry Solomonson, Matthew
Thomas, John Vana
Auditions/Talent Grant
Bart Shanklin – Convener (ex-officio);
John Cooper, Michael Fansler, Richard
Hughey, Rick Kurasz, Moisés Molina,
Penny Shumate, James Stegall, Trista
Trone, Tammie Walker,
Two students TBA
Student Council
Music Personnel Committee
James Romig, Chair
Jeff Brown
James Caldwell
Rich Cangro
Eric Ginsberg
Paul Paccione
Tammie Walker
Mu Phi Epsilon President
Caitlyn Pennington
Music Education
Christine Lapka – Chair; Rich Cangro,
Michael Fansler, Adrianna Marshall, Moises
Molina, Terry Solomonson, James Stegall,
Matthew Thomas,
Music Education Representative
TBA
Faculty Performance
Michael Stryker – Convener;
Randall Faust, Eric Ginsberg, Rick Kurasz, John
McMurtery, Julieta Mihai, Penny Shumate
Music Therapy Representative
TBA
Grade Appeals/Academic Integrity
Terry Solomonson – Convener;
Matt Bean, Eileen Garwood, Mary Kay Karn,
Istvan Szabo, John Vana, Student TBA
Phi Mu Alpha President
Brian Drews
Sigma Alpha Iota President
Taylor Stone
Music Business Representative
TBA
Choral/Vocal Area
Representative
TBA
Bands Area Representative
TBA
Convocation
Kevin Nichols– Convener,
Mary Kay Karn, John Mindeman, James Romig,
Michael Stryker, Istvan Szabo, John Vana,
Student TBA
Orchestra Area Representative
TBA
Summer Music Institute Advisory
Committee
Bart Shanklin-Convener
John Cooper
Mike Ericson
Mike Fansler
Richard Hughey
Moises Molina
James Stegall
Tammie Walker
Keyboard Area Representative
TBA
Jazz Area Representative
TBA
Accompanying Advisory Committee
Bruce Briney
Terry Chasteen
Moises Molina
Minjung Seo
Tammie Walker
*Sabbatical
Rev 9/21/15 (tlf)
TABLE OF CONTENTS
2
SCHOOL OF MUSIC ORGANIZATIONAL STRUCTURE – 2015-2016
1.0 – SCHOOL OF MUSIC MISSION AND GOALS STATEMENT
2.0 – ORGANIZATIONAL STRUCTURES AND FACULTY INFORMATION
2.1
2.2
2.3
2.4
2.5
2.6
2.7
2.8
2.9
2.10
2.11
Administrative Structure
Academic Area/Program Coordinators
Directors of Ensemble Areas
School of Music Committees
Faculty Status
Faculty Rank
Student Activities
Graduate Assistants
Recital Hall Jury Examination Rotation
Commencement Procession Rotation
Summer Teaching Rotations
3.0 – COMMUNICATION
3.1
3.2
3.3
3.4
3.5
Minutes of Faculty Meetings and Music Committees
Performance Calendar Updates
Campus Connection
Concert Publicity
Position Announcements
4.0 – MECHANICS
4.1 Keys
4.2 University Mail
4.3 Telephone Usage
4.4 Office Supplies
4.5 Faculty Schedule Forms
4.6 Budget Requests
4.7 Requesting Copying and Support Staff Services
4.8 Faculty Computers
4.9 The Front Office Area
4.10 Inventory
5.0 – POLICIES AND PROCEDURES
5.1
5.2
5.3
5.4
5.5
5.6
Classroom and Rehearsal Hall Use and Reservation
Graduate Assistants
Student Help
Recital/Concert Attendance Requirement
Talent Grant/Tuition Waivers
Instrument Checkout and Loan
6.0 – TEACHING ASSIGNMENTS
6.1a Faculty Loads
6.1b Course Rosters, Tenth Day of Classes, and Faculty Loads
6.2 Office Hours
6.3 Ensemble Participation of Applied Students
6.4 Ordering Texts
6.5 Syllabi
6.6 Class Rolls
6.7 Early Warning Notice
3
6.8 Examinations
6.9 Jury Examinations
6.10 Student Evaluations of Teacher and Course
6.11 Grades
6.12 Independent Study/Pro seminars
6.13 Advising Procedures
6.14 Music Education Courses
6.15 Registration for Ensembles
7.0 – MUSIC LIBRARY
7.1
7.2
7.3
7.4
7.5
7.6
General
Reserve Policies
Circulation Policies
Audio Equipment Use
Materials Request
Library Instruction/Information Literacy
8.0 – ABSENCE/TRAVEL
8.1 Absence/Sick Leave
8.2 Travel/Request to Travel Form/University Vehicles
9.0 – RECRUITMENT/PROSPECTIVE STUDENTS
9.1 General Procedures for Recruitment and Acceptance of Prospective Students
9.1a Initial Contact
9.1b Follow-up
9.1c Auditions
9.1d Award Offers
9.1e Acceptance Status
9.1f Initial Registration
9.1g Follow-up of Probationary Students
9.2 Policy for Auditioning and Accepting Incoming Students
9.2a Other Auditions Issues
9.3 School of Music Talent Grants, Tuition Waivers, and Scholarships
10.0 – ASSESSMENT PROCEDURES FOR UNDERGRADUATE MAJORS
10.1
10.2
10.3
10.4
10.5
Faculty Responsibilities
Entry Level Assessment
Undergraduate Mid-Career Assessment Plan (UMCA)
Exit/Graduation Level Assessment
Alumni Assessment
11.0 – SCHEDULING CONCERTS AND OTHER EVENTS
11.1
11.2
11.3
11.4
11.5
11.6
11.7
11.8
Scheduling/Scheduling Conflicts
Scheduling Performances
School of Music Calendar Scheduling Order
Student Recitals
Assignment of Accompanists
Procedures after Scheduling a Concert or Recital
Submission of Recordings to Music Library
School of Music Calendar Scheduling Order
12.0 – PRE-COLLEGE MUSIC PROGRAMS
12.1 Purpose
12.2 Duties of Directors
12.3 Operating Policy
13.0 – GRANTS
4
13.1
13.2
13.3
13.4
13.5
13.6
13.7
Outside Sources
Visiting Lecture Requests
WIU Foundation Faculty Development Grants
Professional Travel Grants
Faculty Research Grants
Summer Stipends
Performing Arts Society Grants
14.0 – PROFESSIONAL STATUS
14.1 Retention, Tenure, and Promotion
14.2 Department Procedures
14.3 Personnel Files
15.0 Musician Health and Safety
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APPENDIX
APPENDIX
APPENDIX
APPENDIX
APPENDIX
I: School of Music Workload Equivalents for Teaching, Advising, and Other Duties
II: Summer Rotation Policy
III: Department Criteria for Retention, Promotion and Tenure
IV: Professional Achievement Award
V: Staff Accompanist Guidelines
1.0 – SCHOOL OF MUSIC MISSION AND GOALS STATEMENT
MISSION STATEMENT
5
The School of Music at Western Illinois University is committed to a dual mission within the
university:
1. Helping each undergraduate and graduate music major and music minor to be the best
musician he/she can be through course work, applied study, solo and ensemble performance,
and a variety of listening opportunities; and
2. Serving, along with other departments in the College of Fine Arts and Communication, as a
cultural center for the university, the community, and the region; including a strong
commitment to providing opportunities for non-music major university students to develop
awareness and understanding of music in a variety of cultural contexts.
GOALS
The primary goal of the WIU School of Music is to develop technically proficient and artistically
expressive musicians at the undergraduate and graduate levels. In addition, the WIU School of
Music serves to:

Train student musicians in the fine art of musical performance through applied lessons and solo
and ensemble performance experiences

Help students understand the structures and contexts of music throughout history and in the
present, to enhance their appreciation and performance of diverse musical styles

Prepare graduates who possess the aural, analytical, conceptual, technological and
performance skills needed to be successful in the fields of education, therapy, performance,
composition, and industry, or as students in an advanced degree program

Help music students develop the tools of self-discipline, creative expression, analysis,
problem-solving, and communication for success in their chosen life’s work, in or out of the
field of music

Provide basic music courses and experiences to assist general university students to be
articulate, responsive, and knowledgeable citizens, consumers, and patrons of the arts

Share the joy of musical expression with the general student, university, community, and
regional populations through concerts and recitals

Serve as a resource center for the elementary and secondary music programs and music
teachers in Illinois, the Midwest region, and nationally

Provide opportunities for pre-college music study for community/regional service and for oncampus pedagogical laboratory experience opportunities

Offer a music curriculum with sufficient depth and breadth to satisfy the needs and interests
of the students enrolled

Maintain a faculty of musician-teachers who, through dedication to excellence, sound
pedagogy, and effective communication skills, present models that inspire students to achieve
their full potential
2.0 – ORGANIZATIONAL STRUCTURES AND FACULTY INFORMATION
2015 - 2016
6
2.1 – ADMINISTRATIVE STRUCTURE
Bart Shanklin – Director, School of Music
Tammy Fretueg
Trista Trone
Karla White
Joanie Herbert
Office Administrator/Music Office
Recruitment Coordinator
Office Administrator/Ensembles
Faculty Assistant /Recital Hall Manager
Duties and Responsibilities (based upon the University Faculty Policy Manual)
The Director of the School of Music, as the chief executive officer, shall be responsible for
the execution of University and college policies insofar as they concern the School of Music.
More specifically, he/she shall be responsible, with the counsel and advice of the faculty,
either directly or through committees, for the following:
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Overseeing and reviewing long-range School of Music goals and objectives.

Coordinate external reviews and accreditation (NASM, IBHE, NCATE, etc.)

Lead periodic review and discussion of the School of Music’s mission and
related goals

Highlight the School of Music’s mission and goals in all decision-making
processes
Recruiting new faculty and non-academic personnel.

Appoint search committees

Receive recommendations from search committees

Make hiring decisions in consultation with the Dean of COFAC

Extend position offers and process all other hiring details
Evaluating School of Music members for retention or non-renewal of
appointment.

Receive recommendations for retention for PY1-PY5 from the Music
Personnel Committee (MPC)

Make written recommendations on retention for PY1-PY5
Recommending tenure and promotion.

Receive recommendations on tenure and/or promotion applications from
the Music Personnel Committee (MPC)

Make written recommendations on promotion and/or tenure applications
Preparing and administering the School of Music budget.

Serve as primary fiscal agent on all general School of Music accounts
(both appropriated monies and general foundation funds, including those
administered by any faculty member)

Monitor the management of all student government funds as administered
by ensemble area directors

Coordinate the awarding of Talent Grant/Tuition Waivers and School of
Music scholarships

Prepare annual reports and budget requests (general, Talent Grant, etc.)

Approve and coordinate all equipment purchases
7
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
Preparing schedules of courses and class assignment of School of Music faculty.

Monitor course schedule preparation each semester as well as individual
faculty Assignment of Duties

Assign faculty teaching and other duties

Assign classroom, studio, and rehearsal space
Supervising the development of the School of Music curriculum.



Recommend/foster curriculum review, development, and revision

Sit ex-officio on both Undergraduate and Graduate Studies Committees
Encouraging faculty members in the School of Music to improve themselves
professionally through study, research, and participation in professional
organizations.


Approve all faculty absence, travel, and arrangements for covering
instructional and other duties

Award funds for travel/professional development activities
Furnishing leadership for evaluation and improvement of instruction and
academic advisement in the School of Music.

Supervise School of Music assessment activities

Prepare annual assessment reports

Monitor academic advisement through the School of Music Assistant
Director

Appoint academic advisors

Serving as a review officer with regard to student grievances.

Teaching as appropriate and all other matters, which affect the general
welfare of the School of Music.

Teaching assignments in area(s) of specialization

Coordination of new student auditions for entrance into the School of Music



Approve ensemble travel and monitor fiscal resources expended
(including tours and any external performances) and allocate resources
for course-related student travel or field trips
Summer Freshman and Transfer Student Registration
Coordinate efforts for School of Music outreach and marketing initiatives with
COFAC development officer

Edit/update undergraduate and graduate catalog copy

Edit/update School of Music handbooks for students and faculty

Represent the School of Music at COFAC Chairs Meetings and all other
appropriate university venues

Coordinate the School of Music Web Page in collaboration with the College
Technology Specialist
Convening School of Music meetings on a regular basis, but not less than once
each semester.
Moisés Molina – Assistant to the Director of the School of Music
8
A new position for the School of Music, duties began in January of 2006. This is a
ten month position with administrative load credit of 3-7 ACES a semester,
depending on teaching responsibilities.
Duties and Responsibilities













Coordination of Undergraduate Advising, Registration, and Orientation
Prepare course schedule each semester
Assist Director in preparing annual Assessment Reports
Assist Director with special projects and committees
Chair School of Music Committee for Undergraduate Studies
Advise and work with director on issues relating to undergraduate programs and
curriculum
Coordinate the ongoing training, work, and assignments of School of Music
advisors
Conduct advising/information sessions during School of Music auditions
Process acceptance letters after School of Music auditions
Freshman and Transfer Registration sessions
New Student Orientation
Recommend undergraduate course offering patterns and scheduling
Adjust undergraduate studio and ensemble registrations and auditions
Courtney Blankenship
Music Business
Jennifer Jones
Music Therapy
Eileen Garwood
Music Therapy
Applied Instrumental and Jazz Studies,
Bachelor of Arts/Music
Michael Ericson
Lynn Thompson
Applied Voice
James Romig
Applied Composition
Tammie Walker
Applied Piano
Adrianna Marshall
Music Teacher Certification
Trista Trone
SOAR
Moises Molina
SOAR and New Transfer Students
Brian Locke – Assistant to the Director for Graduate Studies/Advising
Duties and Responsibilities






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Advise all graduate students
Advise School of Music Director on issues relating to graduate programs and
curriculum
Recommend graduate course offering patterns and scheduling
New Graduate Student Orientation
Coordinate all thesis assignments and comprehensive examinations
Coordinate the awarding of graduate assistantships and subsequent work
assignments
Chair School of Music Graduate Studies
9
Office and Professional Staff
Office Administrator/Music Office - Tammy Fretueg
Principal responsibilities:
 Serve as Supervisor of the School of Music office, primary supervision for 4-6
student office assistants and secondary supervision for all School of Music student
assistants;
 Coordinate the Director’s appointment calendar, schedule meetings, prepare
required materials and assist the Director as assigned. Act as a liaison between
the Director and faculty/staff, students and other university personnel;
 Prepare documents and reports for the Director on a variety of issues relating to
administrative, faculty, staff, students, and other campus departments;
 Coordinate and maintain complete and accurate records of the School of Music
budgets;
 Supervise and maintain confidential administrative personnel files of all School of
Music faculty/staff, including contract information, faculty loads, evaluations by
the Director and Music Personnel Committee, supplemental pay forms, faculty
absence and travel requests, tuition waiver request forms, sabbatical leave forms,
and clearance forms for terminating employees;
 Maintain confidential graduate student files and grade reports, prepare requests
for graduate assistantship contracts, maintain budget reports for graduate
assistantships, enter special permissions, and register graduate students for
classes;
 Act as a liaison and bargaining agent between the Director, faculty, various
vendors, corporations, and other external units;
 Assist Director in class scheduling changes;
 Draft or produce and edit curricular, promotional, and marketing materials, using
current computer applications;
 Assist the Director in reviewing/editing administrative documents, and class
scheduling material.
Recruitment Coordinator – Trista Trone
Principal responsibilities:
 Coordinate student recruitment and retention, including updating recruitment
materials, maintaining recruiting database, timely mailing of recruitment
materials to prospective students, arranging campus visits for prospective
students and coordinating those visits with other offices (Admissions, Honors
College, Scholarship Office, Housing, etc.) while scheduling students with
appropriate School of Music faculty and classroom visits, and serving as contact
person for prospective students during the audition and application process;
 Organize student auditions, including planning the audition dates, assignment
of times for each student, audition locations, assignment of accompanists,
advising sessions, coordinating the talent grant committee so that students can
be heard, making adjustment to the schedule to accommodate student
changes, being present on audition days to answer student and parent
questions, organize special auditions for students unable to audition on
scheduled days, create and maintain audition files for each prospective
student, post results of the audition, placements and award recommendations
in the files in preparation for Talent Grant Committee review;
 Perform special projects for the Director and Dean;
 Coordinate the School of Music Talent Grant and Scholarship program, including
requesting TG/TW funds, act as liaison to the WIU Scholarship Office, the
Financial Aid Office, and the office of the Vice President for Student Services,
apply scholarship and grant/tuition waiver funds to student accounts.
10
Office Administrator/Ensembles – Karla White
Principal responsibilities:
 Assist with interviewing, hiring, scheduling, training, assigning work,
supervising, and evaluating band office student employees;
 Assign and direct some of the work of two Graduate Assistants in the Band
area;
 Train, assign, supervise, and evaluate Summer Music Camp counselors with
respect to office procedures;
 Coordinate and manage all details of instrumental area special events
(Marching Band Classic, Jazz Festival, District IV Illinois Music Educators
Association Music Festival, etc.);
 Coordinate and manage all details of Summer Music Camps with respect to
office procedures;
 Coordinate or assist with arrangements for ensembles performing off-campus;
 Coordinate all arrangements for the Marching Band preseason camp;
 Maintain complete and accurate records of fiscal transactions relating to
various band accounts, and special departmental events;
 Maintain database file for records of prospective students interested in band
ensembles in coordination with Recruitment Coordinator, and maintain
database files of public schools, colleges and universities, music teachers, band
alumni, and others;
 Coordinate and supervise promotional and advertising material mailings;
 Maintain database files of band and jazz area music libraries;
 Assist in maintaining appointment calendar and providing secretarial support
for Director of Bands, Associate Director of Bands, and Director of Jazz Studies.
Instrument Technician – Chad Walker
Principal responsibilities:
 Supervise School of Music equipment inventory and submit property control
reports;
 Supervise instrument checkout and repair;
 Assist the Director with recommendations regarding security for, and repair or
replacement of School of Music equipment, including musical instruments,
office equipment, and other items listed on the School of Music inventory
Piano Tuner/Technician – Tony Lang
Principal responsibilities:
 Prepare concert pianos for regular performances of guest artists, faculty
artists, and other public performances;
 Repair, regulate, tune, and maintain all acoustic pianos in the classrooms,
studios, and practice rooms of the School of Music on a schedule to be
established with the secretary to the director; and when needed, consult with
the director;
 Request tools, equipment, and supplies as required to perform these duties,
assist in the inventory of these items, and supervise the storage and
distribution of these materials for needed repairs;
 Supervise student assistants, when needed, to maintain the climate control
units on the pianos;
 Make recommendations for long-term maintenance needs, strategies, and
instrument replacements.
Faculty Assistant/Recital Hall Manager – Joanie Herbert
11
Principal responsibilities:
 Manage all details relating to the School of Music Performance Calendar,
including:
1. Coordinate scheduling, oversee stage management, and supervise the
production of programs for all on-campus performances;
2. Coordinate the moving of instruments, chairs, stands, and other
equipment needed for each performance;
3. Coordinate the necessary instrument tunings/preparation;
4. Coordinate/verify that a recording crew is assigned for each
performance;
5. Coordinate requests for copies of recital recordings;
6. Communicate the calendar to all external constituencies, including
needed updates;
7. Supervise student organizations, student workers, and graduate
assistants assigned to work as aides in program publication, stage
management, and public relations.
8. Record Recital attendance.
 Manage the external and internal publicity for all performance events and
other School of Music events or issues which merit such attention, including
production of all press releases for School of Music activities, including updates
on changes/cancellations, and assisting School of Music faculty and the Director
as needed in all events which require special physical arrangements,
scheduling, or publicity.
Staff Accompanist/Coordinator of Accompanying – Minjung Seo
Principal responsibilities:
 Coordinate the accompanying services of the School of Music, which includes
one other full-time accompanist and a part-time accompanist;
 Accompany various student and faculty performances.
Staff Accompanist – Po-Chuan Chiang
Principal responsibilities:
 Accompany various student and faculty performances.
Staff Accompanist – Liang yu Wang
Principal responsibilities:
 Accompany various student and faculty performances.
2.2 – ACADEMIC AREA/PROGRAM COORDINATORS
James Caldwell
Theory/Composition
Brian Locke
Humanities/History
Tammie Walker
Keyboard
Richard Hughey
Strings
Terry Chasteen
Voice/Choral
Bruce Briney
Winds/Percussion
Courtney Blankenship Music Business
Christine Lapka
Music Education
Jennifer Jones
Music Therapy
12
John Cooper
Jazz Studies
Duties and Responsibilities
General

Coordinate area meetings and communication

Coordinate area proposals/requests/equipment needs/equipment repairs

Represent the area/program on the Music Advisory Council and represent (or
recommend an area/program representative) the area/program on the Undergraduate
Studies Committee

Serve as a liaison between the area/program and the rest of the School of Music

Coordinate any necessary written correspondence with students which comes from
the area/program

Coordinate assessment activities appropriate to each area/program

Coordinate recruitment in collaboration with School of Music Recruitment Coordinator
and Music faculty
Applied Areas

Coordinate studio assignments where appropriate

Coordinate the scheduling of studio seminars and semester end juries

Coordinate the selection of candidates for special scholarships/awards as appropriate
to the area

Coordinate and seek approval from the Director of the School of Music for student
travel to external performance venues/competitions/festivals

Coordinate master classes/performances of visiting artists

Coordinate area specific recruitment efforts with the appropriate ensemble area
director(s)
Academic Areas

Coordinate the administration of general examinations (such as theory entrance,
graduate entrance examinations, masters comprehensive exams)

Coordinate textbook adoption for multiple sections of the same courses within the
area

Coordinate and mediate the approaches taken in various sections of the same course
(within the area), the coverage of each course, and the integration of the courses into
a coherent sequence

Advise the School of Music Director on staffing issues within the area
Professional Programs

Coordinate student teaching assignments or internships

Coordinate program specific advising of students and related curricular issues
2.3 – DIRECTORS OF ENSEMBLE AREAS
Richard Hughey
Director of Orchestras
Michael Fansler
Director of Bands
13
Matthew Thomas
Associate Director of Bands
John Cooper
Jazz Studies
Michael Stryker
Associate Director of Jazz Studies
James Stegall
Director of Choirs
Duties and Responsibilities

Jointly coordinate the work of the secretary for university ensembles

Coordinate special events within area of specialization
(Examples: Band Showcase, ACDA festivals, Jazz Festival, etc.)

Coordinate publicity for university ensemble events with the Performance/Public
Relations Manager.

Coordinate tours/off-campus performances of ensembles within the area of
specialization


o
Ensure that Director approval for travel has been processed
o
Monitor the number, frequency, length, and quality of tours/off-campus
performances
Serve as fiscal agent on all student government accounts related to area of
specialization
o
Keep detailed records of receipts and expenditures and provide yearly report of
account activity to the Director (prior year due each year on Sept. 1)
o
Write yearly requests for continued/increased student government funding (copy
to Director)
Assist with School of Music public outreach
o

Discover Western presentations and exhibits at state, regional, and national
professional meetings
Advice regarding allocation of talent grant/scholarship resources
o
Serve as members of the School of Music Talent Grant/Scholarship committee
o
Monitor the appropriate ensemble participation of TG/TW recipients and provide
feedback on performance

Supervise graduate assistants and student workers assigned to each ensemble
area

Supervise ensemble libraries within the area of specialization
2.4 – SCHOOL OF MUSIC COMMITTEES –
Music Advisory Council
Bart Shanklin, Director
Moisés Molina, Asst. Director/Undergraduate Studiess
Brian Locke, Graduate Studies
Anita Hardeman, History and Humanities
Courtney Blankenship, Music Business
Christine Lapka, Music Education
Jennifer Jones, Music Therapy
Tammie Walker, Keyboard Area (Jeff Brown F14)
Terry Chasteen, Voice/Choral Area
Bruce Briney, Winds/Percussion Area
James Caldwell, Theory/Composition
Michael Fansler, Ensembles
14
John Cooper, Jazz Studies
Julieta Mihai, Strings
Graduate Studies
Brian Locke, Chair
Richard Cangro
John Cooper
Michael Fansler
Eric Ginsberg
Richard Hughey
Paul Paccione
James Stegall
Tammie Walker
Bart Shanklin (Ex-Officio)
(cont. recruitment/retention)
Trista Trone
Faculty Performance
Michael Stryker, Convener
Randall Faust
Eric Ginsberg
Rick Kurasz
John McMurtery
Julieta Mihai
Penny Shumate
Undergraduate Studies
Moisés Molina, (Chair)
Courtney Blankenship
Jeff Brown
Rich Cangro
Terry Chasteen
Anita Hardeman
Jennifer Jones
Christine Lapka
James Romig
Bart Shanklin (Ex-Officio)
Grade Appeals/Academic Integrity
Terry Solomonson, Convener
Matt Bean
Eileen Garwood
Mary Kay Karn
Istvan Szabo
John Vana
Two students TBA
Auditions/Talent Grant
Bart Shanklin, Convener (Ex-Officio)
John Cooper, Jazz Ensembles
Michael Fansler, Band Ensembles
Richard Hughey, String Ensembles
Rick Kurasz, Percussion
Moisés Molina, Strings
Penny Shumate, Voice/Opera
James Stegall, Choral Ensembles
Trista Trone, Coordinator
Tammie Walker, Keyboard Accompanying
Two students TBA
Music Personnel Committee
James Romig, Chair
Jeff Brown
James Caldwell
Rich Cangro
Eric Ginsberg
Paul Paccione
Tammie Walker
Music Education Committee
Christine Lapka, Chair
Richard Cangro
Michael Fansler
Adrianna Marshall
Moisés Molina
Terry Solomonson
James Stegall
Matthew Thomas
Convocation
Kevin Nichols, Convener
Mary Kay Karn
John Mindeman
James Romig
Michael Stryker
Istvan Szabo
John Vana
Recruitment/Retention Committee
Bart Shanklin, Convener
Courtney Blankenship
Bruce Briney
John Cooper
Michael Fansler
Randall Faust
Richard Hughey
Rick Kurasz
Moisés Molina
James Stegall
Matthew Thomas
15
2.5 – FACULTY STATUS –
Tenured Faculty (31)
Dr. Matt Bean
Dr. Bruce Briney
Dr. Jeff Brown
Dr. James Caldwell
Dr. Richard Cangro
Mr. Terry Chasteen
Dr. John Cooper
Mr. Michael Ericson
Dr. Michael Fansler
Dr. Randall Faust
Mr. Eric Ginsberg
Dr. Douglas Huff
Dr. Richard Hughey
Dr. Jennifer Jones
Ms. Mary Kay Karn
Dr. Richard Kurasz
Dr. Christine Lapka
Dr. Brian Locke
Dr. Julieta Mihai
Mr. John Mindeman
Dr. Moises Molina
Dr. Kevin Nichols
Dr. Paul Paccione
Dr. James Romig
Dr. Bart Shanklin
Dr. Terry Solomonson
Dr. James Stegall
Dr. Michael Stryker
Dr. Istvan Szabo
Mr. Lynn Thompson
Mr. John Vana
Dr. Tammie Walker
Non-Tenured Faculty (7)
Probationary Year (PY)
6
4
4
3
3
2
2
Dr. Matthew Thomas
Dr. Anita Hardeman
Dr. John McMurtery
Ms. Courtney Blankenship
Dr. Adrianna Marshall
Dr. Eileen Garwood
Dr. Penny Shumate
Instructors/Lecturers (3)
Dr. Angela Hand
Mr. Matt Hughes
Mr. George Turner
Mr. Jonathan Saeger
Instructor (Voice)
Instructor (Double Bass)
Lecturer (Guitar)
Instructor (Choir)
2.6 - Faculty Rank
Rank
Yr.
Granted
Professor (17)
Michael Ericson
Paul Paccione
James Caldwell
James Stegall
Randall Faust
Bruce Briney
Rank
Year
Granted
Associate Professor (13)
1989
1993
1995
1997
1997
2002
Richard Cangro
Terry Chasteen
John Mindeman
Terry Solomonson
Kevin Nichols
Jennifer Jones
16
2014
2006
2007
2007
2007
2010
Bart Shanklin
Matt Bean
Eric Ginsberg
John Vana
Douglas Huff
John Cooper
Tammie Walker
Christine Lapka
Moises Molina
Mike Fansler
James Romig
Richard Kurasz
2005
2006
2006
2007
2007
2008
2008
2009
2009
2012
2012
2013
Lynn Thompson
Mary Kay Karn
Julieta Mihai
Richard Hughey
Brian Locke
Michael Stryker
Istvan Szabo
Jeff Brown
2010
2010
2010
2011
2011
2011
2011
2013
Assistant Professor (9)
Matthew Thomas
Anita Hardeman
John McMurtery
Courtney Blankenship
Adrianna Marshall
Eileen Garwood
Penny Shumate
2010
2012
2012
2013
2013
2014
2014
Lecturer/ Instructor (3)
Angela Hand
Matthew Hughes
George Turner
2011
2011
2011
Faculty Assistants (4)
Joanie Herbert
Minjung Seo
Liang-yu Wang
Po-Chuan Chiang
2010
2011
2013
2015
2.7 – STUDENT ACTIVITIES
Student Advisory Council
Graduate Representative
Illinois Collegiate Music Educators Association President – Allison Smith
Mu Phi Epsilon President – Caitlin Pennington
Music Business Association President – Darcy Smith
Music and Miracles President – Caitlin Pennington
Phi Mu Alpha President – Brian Drews
MTNA Student Chapter President – Amy Broadbent
School of Music Director (ex-officio)
Sigma Alpha Iota – Taylor Stone
Student Organization Advisors
American String Teachers Association
American Choral Directors Association
Illinois Collegiate Music Educators Association
Mu Phi Epsilon
Music Business Association
17
– Moises Molina /Rich Cangro
– James Stegall
- Richard Cangro
– Anita Hardeman
– Courtney Blankenship
Music & Miracles
– Jennifer Jones
Music Teachers Association Collegiate Chapter – Tammie Walker
Phi Mu Alpha Sinfonia
– Terry Solomonson
Sigma Alpha Iota
- Eileen Garwood, Jennifer McNabb
2.8 – GRADUATE ASSISTANTS: 2015 - 2016 Assignments
Last Name
First Name
Major
TSA (*TA)
Major Inst
Anthony
Marius
Composition
History/Humanities
Piano
Broadbent
Amy
Piano Pedagogy
Class Piano
Piano
Dossett
Keith
Inst Conducting
Bands
Trumpet
Gibb Clark
Andrew
Choral Cond
Choral
Cond
Herrenbruck
Katie
IDT
Bands/Dance Line
Horn
Jang
Hyun Jin
Piano Perf
Class Piano
Piano
Jarosz
Klaudia
Mus Ed
Orchestra
Cello
Johnson
Mikaela
Choral Cond
Choral
Flute
Kalina
Brian
Piano Ped
Accomp for Mus Theatre
Piano
Lee
Dayoung
Piano Perf
Accomp
Piano
Miller
Charles
Jazz Perf
Jazz area
Trumpet
McChord
Byron
Jazz Perf
Jazz Worship Service
Piano
McNeil
Ryan
Composition
Asst outside of SOM
Voice/Piano
Overton
Lucas
Choral Cond
Choral
Cond
Racanati
Alberto
Inst Perf
LBQ
Trumpet
Soberano
Ramon Alfonso
Inst Perf
JSQ
Violin
Stombres
Adam
Comp
Theory
Saxophone
Weber
Colin
Inst Cond
Bands
Saxophone
Zhou
Ziyu
Piano Perf
Accompanying
Piano
2.9 – Recital Hall Jury Examination Rotation
Fall Semester 2015
Monday – Strings
Tuesday – Woodwinds
Wednesday – Piano
Spring Semester 2016
Monday - Brass
Tuesday - Voice
Wednesday – Piano
Fall Semester 2016
Monday – Piano
Tuesday – Strings
Wednesday – Piano
Spring Semester 2017
Monday – Voice
Tuesday – Voice
Wednesday – Piano
Fall Semester 2017
Monday – Voice
Tuesday – Voice
Wednesday – Piano
Spring Semester 2018
Monday - Woodwinds
Tuesday - Strings
Wednesday – Piano
18
2.10 – COMMENCEMENT PROCESSION ROTATION
Dec 2015
Michael Fansler – Wind Ensemble
Julieta Mihai
Doug Huff
Lynn Thompson
Paul Paccione
John McMurtery
Eric Ginsberg
Courtney Blankenship
Bruce Briney
May 2016
Richard Hughey – Symphony Orchestra
Michael Ericson
Richard Cangro
John Vana
Kevin Nichols
Jeff Brown
Anita Hardeman
Penny Shumate
John Mindeman
Dec 2016
Matt Thomas – Concert Band
Michael Stryker
Kitty Karn
Jennifer Jones
James Caldwell
Istvan Szabo
Matt Bean
James Romig
May 2017
Michael Fansler – Wind Ensemble
Terry Chasteen
John Cooper
Randall Faust
Eileen Garwood
Rick Kurasz
Chris Lapka
Terry Solomonson
Tammie Walker
2.11 – SUMMER TEACHING ROTATION
Name
Paccione
Caldwell
Ericson
Vana
Solomonson
Stegall
Briney
Ginsberg
L Thompson
Faust
Huff
Lapka
Nichols
Walker
Molina
Bean
Blankenship
Chasteen
Mindeman
Fansler
Cooper
Last Assignment
New 1984
New 1985
New 1986
New 1989
New 1989
New 1989
New 1993
New 1996
New 1996
New 1997
New 1998
New 1998
New 1998
New 1998
New 1999
New 2000
New 2000
New 2000
New 2000
New 2001
New 2002
19
Kurasz
Romig
Mihai
Karn
Stryker
Szabo
Jones
Locke
Hughey
Cangro
Brown
Thomas
Hand
Hughes
Turner
Hardeman
Marshall
McMurtery
Garwood
Shumate
Saeger
Solomonson
Caldwell
Stegall
Stryker
Thompson
Brown
Nichols
Paccione
Blankenship
Cangro
Cooper
J.D. Jones
Lapka
Locke
Marshall
New 2002
New 2002
New 2004
New 2004
New 2005
New 2005
New 2006
New 2006
New 2007
New 2008
New 2009
New 2010
New 2011
New 2011
New 2011
New 2012
New 2012
New 2012
New 2014
New 2014
New 2015
2010
2011
2011
2011
2012
2013
2013
2013
2015
2015
2015
2015
2015
2015
2015
Faculty interested in summer teaching assignment must inform the Director, in writing,
in accordance with the schedule distributed by the Provost.
3.0 – COMMUNICATION
3.1 – AGENDA AND MINUTES OF FACULTY MEETINGS AND SCHOOL OF MUSIC
COMMITTEES
Agenda and minutes of regular Music Faculty meetings as well as minutes of faculty
committees will be sent electronically. Each faculty committee should select a member to
submit minutes outlining topics of discussion and/or actions and decisions of the committee
to the Director for distribution.
3.2 – PERFORMANCE CALENDAR UPDATES
20
Periodic updates to the School of Music performance calendar are distributed by Joanie
Herbert. Please contact her for any questions regarding this calendar.
3.3 – CAMPUS CONNECTION
This University-wide newsletter is published the first and third Friday during fall and spring
semesters (with the exception of the first month of each semester) and approximately two
times during the summer. A hard copy can be found in the Music Office mail room. We should
be consistent in letting the WIU community know about the many activities and honors of our
School of Music. Deadline for submitting information to University Relations, Sherman Hall
302, is 10:00 A.M. on Tuesday for the following Friday issue.
3.4 –CONCERT PUBLICITY
Joanie Herbert coordinates press releases and updates for all School of Music calendar events.
3.5 – POSITION ANNOUNCEMENTS
Notices of vacancy that are received in the music office are placed immediately into the
notebook/binder found in the upper right faculty cabinet in the front office. Information
regarding Graduate Professional Auditions, Graduate Assistantships, and Summer Study
Opportunities is also located there. If you have students that you know are looking, suggest
they check these notebooks from time to time.
4.0 – MECHANICS
4.1 – KEYS
Faculty and Graduate Assistants are issued keys for rooms for which they have frequent
access needs. It is imperative to lock all studios, rehearsal halls, and classrooms when you
leave.
The ramp door to Browne 129 should be unlocked ONLY for the purposes of moving equipment
for scheduled School of Music activities. Extreme care must be used when using the street
side doors to 129 and 130 for loading. These doors must never be left unlocked.
All classroom stereo systems are locked with a combination padlock. If you need to use the
system in a particular room, Tammy Fretueg for the combination. Please do not reveal this
combination indiscriminately. Every effort has been made to provide good quality,
functioning systems in all classrooms, but each user must be security conscious. Please
report any malfunctions to Terry Solomonson immediately.
4.2 – UNIVERSITY MAIL
Mail is picked up at approximately 11:30 a.m. Mail is also received at the same time and is
distributed to faculty mailboxes located in Browne 122A, beside the Music Office, Browne
122. All mail to be sent off campus must be in pre-printed envelopes having the return
address label/WIU logo; or you must use pre-printed labels with the return address/WIU
logo included, provided by the School of Music. Hand-written return address information
will not be accepted, and the envelopes will be returned to the School of Music by
Document and Publication Services (DPS) at Physical Plant. Please use multiple-use brown
21
envelopes for on-campus mail. The outgoing mailbag is located near the faculty mailboxes.
The School of Music is billed for every piece of mail, so please do not use the School of Music
mail code for personal purposes. Document and Publication Services (DPS), Physical Plant,
will accept stamped personal mail.
4.3 – TELEPHONE USAGE
Each faculty is assigned an authorization code number to be used for professional business or
recruitment-related long distance calls only. LONG DISTANCE calls are billed to the School
of Music budget at a charge of 25 cents per minute. We ask that you keep the length and
number of those calls to a minimum. Long distance, personal calls on your authorization
code from your office phone are prohibited by University policy and state law. You will need
to place those calls collect or use a personal calling card. Please adhere to the policies in
place, in order to avoid possible cancellation of your authorization code number. Any
phone calls over 10 minutes in length require justification to the School of Music Director.
The Music Office has a Fax machine for sending and receiving mail. The FAX number is 309298-1968. Please do not send long distance faxes for personal use. International calls require
pre-approval by the School of Music Director.
4.4 – OFFICE SUPPLIES
Office Supplies are located in the black storage cabinet in the Music office. Office supplies
are only available for approved official School of Music purposes.
4.5 – FACULTY SCHEDULE FORMS
Blank copies of the Faculty schedule forms are available in the front Music Office and will be
emailed to you electronically at the beginning of the semester. Please fill this out and copy
it as soon as your schedule is determined, furnishing Tammy Fretueg with one copy and
posting the other on your office/studio door. The Office Staff field many calls and it is
essential that they know your office hours, when you are in class, and when not to disturb a
lesson by transferring calls to your studio. Students must also be able to see your posted
office hours so they will know when you will be available for appointments. The UPI 2010 2015 Agreement requires faculty schedules to be posted (please see 18.15, p. 36 of the
Agreement).
4.6 – BUDGET REQUESTS
Faculty may submit budget requests for recruitment travel reimbursement. Forms for such
requests are located in the mail room, bottom drawers of cabinet. All such requests should
be submitted to Tammy Fretueg. In order to facilitate the processing of your request,
please provide all information as requested on the particular form. Requests with missing
information will be returned for revision. For further information on Travel Requests, see
8.0. Even if a budget request cannot be filled immediately, your requests will be kept on
file for reviewing at the end of the fiscal year, at which time we may receive funding beyond
our allocated School of Music budget, and be able to process the request.
4.7 – REQUESTING COPYING AND SUPPORT STAFF SERVICES
Photocopying: The photocopy machines in the office are for official School of Music use by
faculty and staff. Personal photocopying is not allowed. Copies are to be made by faculty
only. There are other copy machines available to students at various locations around
campus.
22
Forms are provided for faculty requesting copying of materials and are available in the front
office. Please be specific about number of copies, when they are needed, and to whom they
should be returned. Whenever possible, ask that copies of multi-page documents be copied
back-to-back for paper conservation. DUPLICATION OF COPYRIGHTED MATERIAL IS
STRICTLY FORBIDDEN!
Forms requesting other support staff services are available in the Music office faculty work
area. Assistance will be provided to faculty members according to available time of the
office staff. Maximum advance notice will help everyone achieve efficiency and maximum
results. The office staff reserves the right to refuse illegible copy and to refuse requests
that do not follow the Civil Service guidelines.
4.8 – FACULTY COMPUTERS
Computers are available in all faculty offices, and printers are located in some of them. Each
office has full network connections for the Local Area Network and Internet.
4.9 – THE FRONT OFFICE AREA
There is a copier, paper supplies, and a fax machine in the front Music Office. Please lend
your assistance in keeping this area neat and orderly. The copy machine is open for faculty
use. You are personally responsible to observe all Copyright Laws. See Tammy Fretueg to
secure your access code number. Do not share your access code with students. Students
are not allowed to use the copy machines. Please do not copy personal documents.
4.10 – INVENTORY
The School of Music has an inventory of equipment in excess of $1,000,000. There is no
insurance for loss through damage or theft and every effort must be made to take very
good care of the existing equipment. We cannot simply discard anything on the official
inventory. If a piece of equipment is no longer functional or needed, please report this to
Chad Walker. If you move any equipment to a different location, please notify Chad. If
stereo/sound equipment is no longer functional, please report this to Terry Solomonson.
Report immediately anything that has apparently been stolen!
5.0 – POLICIES AND PROCEDURES
5.1 – CLASSROOM AND REHEARSAL HALL USE AND RESERVATION
Classroom schedules are maintained electronically through Zimbra Calendars. If you wish to
schedule a classroom, please check the calendars to see the room you want to reserve is
available. If it is available, send an email request to Karla White or Tammy Fretueg to reserve
the room on Zimbra calendars (all requests to use the recital hall should go through Joanie
Herbert). Do not assume that you can use any room that happens to be vacant at the
moment.
The COFAC Dean’s Conference room, Browne 112, is also available for seminars and meetings.
To schedule this room, please contact Louise Reynolds in the Dean’s Office, 298-1618.
If a student or student group needs a classroom for practice or a meeting during non-class
hours, they must request this by email to Tammy Fretueg to secure a permit to have the room
unlocked by the custodian or Public Safety. This must be done two to three days in advance,
since requests are processed through the Academic Scheduling Office. When a room is used,
23
return it to the set-up in which you found it, or feel free to improve upon that state. No
food or drink is allowed in classrooms, practice rooms, or the recital hall. Candles are also
prohibited.
5.2 – GRADUATE ASSISTANTS
The responsibility for selecting graduate assistants and assigning their duties rests with the
Graduate Studies Committee. Each spring, the committee reviews needs of the School of
Music and applicants for the positions available.
A full graduate assistantship involves twenty hours per week of obligated time to the School
of Music. The time required for partial assistantships is pro-rated accordingly. A 2/3
assistantship involves 13 hours per week. A job description for the work of each graduate
assistantship should be on file with the Graduate Studies Chair. It is the responsibility of the
individual supervising faculty member to insure that the graduate assistant is fulfilling the
obligations of his/her time and specific assignments, and that the student’s time is not
abused through excessive assignment. Any questions relating to the supervision and/or
assignment of graduate assistants should be referred to Dr. Brian Locke.
5.3 – STUDENT HELP
The Director allocates student help budgets based on requests from faculty and departmental
needs and priorities. Student workers are secured and hired by the faculty member who is
responsible for supervision over his/her area. Every effort should be made to secure students
who are eligible for Federal Work Study funds, so that our limited Student Help budget can be
stretched as far as possible. Tammy Fretueg coordinates the student worker
applications/paperwork in the School of Music and can keep appropriate faculty apprised of
applicants. She maintains a file on each student worker, authorizes them online, keeps
budget records, and oversees the completion of timecards.
The direct supervisors of the areas, or their designee, should handle all records and timecard
reporting for their particular area. Music Front Office student assistants are supervised by
Tammy Fretueg. If you have a student assistant in your area, please make sure he/she keeps
a daily log sheet and records the exact times worked; it should be kept on file as proof of
actual check-in/check-out times. Student Assistants are required to go online in MVS and
enter their hours electronically by the end of each pay period. The supervisor then confirms
the timecard online. Students are urged to sign up for electronic deposit of their paychecks.
5.4 - RECITAL/CONCERT ATTENDANCE REQUIREMENT
All full time undergraduate music majors are automatically registered for MUSIC 100: RECITAL
ATTENDANCE for 0 semester hours credit every semester. Attendance at a minimum of 10
recitals per semester is required of each full-time music student. Recital attendance
credit is given for attendance at the following: 1) a minimum of 5 recitals which are
either Faculty or Guest Recitals or Faculty Chamber Series Concerts; 2) any 5 student
concerts in the School of Music calendar except performances in which the student
participates as either performer, stage crew, tonemiester or usher. There will be no
exceptions. Convocation attendance and performances external to the university will
not count toward the required 10 recitals.
If a student attends a minimum of 10 recitals/concerts each semester, as specified above, he
or she will receive a grade of “S” (Satisfactory) in Music 100. If not, they will receive a grade
of “U” (Unsatisfactory). This grade will appear on the official transcript. All students must
receive an “S” every semester (minus one) that they are a full-time on-campus student,
24
in order to receive departmental approval for graduation. For example: A student that is
on campus 8 semesters must have 7 semesters of “S”, a student that is on campus 4
semesters must have 3 semesters of “S”.
Recital Attendance is tracked using BioMetric facial scanning technology. The scanner is
located inside the COFAC Recital Hall, on the east (house left) wall, behind the last row of
seats.
In order for attendance at a recital to be tracked and counted, ALL students enrolled in
MUS100 must go see Joanie Herbert in the Recital Hall for the scanning/registering process,
which takes about 1 minute to complete. New freshman and transfer students who attend
the new music major meeting at the beginning of the fall semester are scanned at that
meeting. Once a student is scanned, he/she will only need to scan their face at the
beginning and end of each performance attended. Specific instructions are posted above
the scanner.
For students who do not attend the New Music Major meeting, Joanie Herbert in the Recital
Hall will send an email during the first two or three weeks of each semester with specific days
and times during office hours for students to be scanned.
Recital attendance is recorded on Western Online by the date and type (faculty or student) of
the performance. Students are encouraged to check Western Online often for the accuracy
of recital attendance.
5.5 – TALENT GRANT/TUITION WAIVERS
The Student Handbook and the prospective student packets include information concerning
Talent Grants and Tuition Waivers. ALL matters concerning talent grants and tuition waivers,
including the assignment and/or dropping of students from their TG/TW responsibilities, are
to be handled by the Auditions/Talent Grant Committee. A copy of the contract that all
TG/TW recipients sign may be obtained from Trista Trone in Browne 121A.
5.6 – INSTRUMENT CHECKOUT AND LOAN
The instruments, located in Simpkins 003, are under the supervision of Chad Walker,
Instrument Technician III. A graduate assistant also is assigned to assist with instrument
checkout. Hours of operation are posted in Browne Lobby and on the door of Simpkins 003.
Please note the checkout hours and plan accordingly.
Please use the SPECIAL PERMISSION FORMS to assign instruments labeled “SPECIAL PERMISSION
REQUIRED.” Faculty members make assignments, sign the form, and the student takes the
form to the instrument room, fills out the proper materials and an instrument is issued. All
instruments are to be returned at the end of each semester. New paperwork must be
initiated at that time for the following semester or summer. At no time will a SPECIAL
PERMISSION INSTRUMENT be checked out without faculty signature.
Technique class instruments and all other non-special permission instruments will be handled
by the instrumental checkout staff in Simpkins 003 during regular posted times.
25
6.0 – TEACHING ASSIGNMENTS
6.1a – FACULTY LOADS
The School of Music Director assigns faculty loads, with the opportunity for consultation for
each individual faculty member. A full-time load must be between 18-22 ACES per 9-month
term. Guidelines for ACE assignment are distributed by the Provost’s Office. See Appendix I.
Faculty can receive overload pay for assignments in excess of 22 ACES, subject to the
availability of funds.
Assignment of summer teaching follows the approved School of Music Summer Rotation
Statement. (See Appendix II) Faculty interested in summer teaching assignment must notify
the Director, in writing, before the date indicated on the Personnel Schedule distributed each
fall by the Provost.
6.1b – COURSE ROSTERS, TENTH DAY OF CLASSES, AND FACULTY LOADS
Faculty loads for each semester will be calculated through audits of the enrollments that
appear in the university records immediately after the tenth class day of each semester.
Prior to this time, each faculty member should check all rosters for applied lessons,
ensembles, and classroom courses very carefully and notify the Director of any
discrepancies. Up to date course rosters are available at any time on the university
computer network so please make a point to check their accuracy before the tenth day of
classes. Please contact School of Music advisors, the Director, or Trista Trone for current
information. Any faculty member who wishes to be able to view class rosters or student
identification information on the network (on an ongoing basis) should so notify the Director
to be granted clearance.
6.2 – OFFICE HOURS
Each faculty member must maintain a schedule of a minimum of four office hours per
calendar week spread over at least three days OR a schedule of at least five office hours per
calendar week spread over at least two days. Office hours must be posted and should be
scheduled during different class hours each day for maximum student access. Please submit a
copy of your class schedule, lessons, rehearsals, and office hours to Susan McCombs by the
10th day of class each semester.
6.3 – ENSEMBLE PARTICIPATION OF APPLIED STUDENTS
In order to maintain NASM accreditation, all students registered for applied study must also
be registered for ensemble experience. (Keyboard students who do not qualify for
participation in instrumental or choral ensembles are assigned chamber and/or accompanying
experience under Mus 140). Each applied teacher is responsible for monitoring the ensemble
participation of the students in that studio.
6.4 – ORDERING TEXTS
Textbook order blanks are electronically transmitted directly to the Union Bookstore. The
bookstore will send instructions and password information via campus mail each semester.
Orders must be received by the bookstore on a timely basis to insure that books and other
materials are in stock at the beginning of each semester. Please keep in mind that you
must supply book order information directly to the bookstore every semester, even if your
26
class never requires a textbook. Additional materials, such as duplication of handouts, are
handled by DPS. Submissions of these materials prior to the end of the previous semester will
guarantee timely processing. These materials will be stocked at the Union Bookstore along
with the textbooks required for the classes. No fees should be collected for materials
duplicated in the School of Music unless prior approval is granted by the Provost’s Office.
6.5 – SYLLABI
As part of each faculty member’s professional obligation, course syllabi must be prepared and
distributed to students, with an electronic copy also submitted to the School of Music
Director, by the end of the full refund/credit period (the tenth day of classes). The syllabi
submitted to the Director will be included in an office file as well as a Music Library file
available to all students and faculty. The Director’s syllabus file is open to anyone who
wishes to study, copy, or use as a guide, one or several syllabi. During NASM reaccreditation, several years of faculty syllabi must be made available to the Visiting
Evaluation Committee.
The university policy on course syllabi approved by the Faculty Senate outlines current practice
and requirements.
UNIVERSITY POLICY MANUAL
File Code: PRO.SYLLABUS.POL
Approval Date: 9/25/03
Approved By: President and Faculty Senate
Course Syllabus Policy
Education works best when a clear understanding is established between instructor and
student.
Since students need to know what is required of them in order to complete a course
satisfactorily, instructors will provide each student with a course syllabus. Items suggested for
Inclusion in the syllabus include the following:
1. Title of the course, course number, section number, meeting days and times, nature
and/or purpose of the course. General Education “W” and WID courses will be so
identified.
2. Pre-requisites and co-requisites (Note: It is the responsibility of the student to comply
with the prerequisites/co-requisites for a course that he/she plans to take. Instructors
who place the appropriate information on the syllabus and emphasize it during the first
three class periods may exclude a student from the class who does not meet the
prerequisites/co-requisites by sending a note to the student with a copy to the registrar
within the first two weeks of the term.)
3. “In accordance with University policy and the Americans with Disabilities Act (ADA),
academic accommodations may be made for any student who notifies the instructor of
the need for an accommodation. It is imperative that you take the initiative to bring
such needs to the instructor’s attention, as he/she is not legally permitted to inquire
about such particular needs of students. Students who may require special assistance in
emergency evacuations (i.e. fire, tornado, etc.) should contact the instructor as to the
most appropriate procedures to follow in such an emergency. Contact Disability Support
Services at 298-2512 for additional services.”
4. Instructor’s name, office number, office hours, office phone number, FAX number, email address, personal web address (personal home page).
5. Books and/or materials required.
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6. A goals/objectives statement (What is the purpose of the course? What is the professor
going to try to accomplish?)
7. A statement indicating how the student’s final grade will be determined, including any
minimum requirements.
8. Types of examinations that could be given (essay, objective, short answer, quizzes,
etc.), if any.
9. Tentative dates for exams, tests, and a breakdown of the materials to be covered in
relation to those dates.
10. Outside work required (readings, web searches, field experiences, trips, etc.), if any.
11. Additional fees or costs to be incurred by the student, if any.
12. Nature of papers or reports required, if any, and when they are due.
13. Attendance requirements and penalties, if any.
14. Web address for student rights and responsibilities (use URL found on University Student
Rights and Responsibilities web page.)
Course syllabi should be distributed at the first class meeting but must be distributed no
later than the end of the full refund/credit period. It is student’s responsibility to
obtain the syllabus after this time.
Failure to provide adequate written information about course requirements may provide
the student with sufficient grounds to appeal to the Council on Admission, Graduate and
Academic Standards for a late withdrawal. Questions concerning the interpretation of
this policy will be resolved by the Council.
6.6 – CLASS ROSTERS
Class rosters are available online at http://www.wiu.edu/registrar/lists.php. Final class
rosters are not received until the tenth day of classes. Check each edition of class rosters
carefully to ascertain that all students attending are enrolled and vice versa. Please consult
Moisés Molina if your class rosters include students that are not attending or do not include
students that are attending. Any discrepancies should be reported as soon as you have
checked your final “official” rosters. Do not assume that they will automatically be
corrected. Your final grade sheet will be identical to your final class roster unless you report
discrepancies. At that point it is too late to make appropriate adjustments.
Check applied rosters for the number of hours of credit to be sure all students are properly
enrolled:
 Performance majors: 4 SH
 Mus Ed, Theory-Comp, Pedagogy Principals: 2 SH
 Music Therapy, Music Business Principals: 2 SH
 Secondary Applied Students (music majors taking a secondary lesson): 1 SH
 Music Minors (entitled to two semesters of study): 1 SH
 Non-major/minor Talent Grant Recipients (when load time available): 1 or 2 SH
6.7 – EARLY WARNING NOTICE
In an effort to improve retention of students, the university has followed a practice of giving
an early warning to the students and advisors of all majors showing attendance or academic
problems. This will be called for with a notice from the office. Please share your concerns
about a student with the student’s advisor at any time throughout the term. Applied
teachers are encouraged to discuss present work and future plans with applied majors and
principals periodically.
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6.8 – EXAMINATIONS
Mid-term exams should be given on or about the 8th week of the semester during regular
class hours. Final exams are given according to a special schedule shown in that semester’s
registration booklet. Exceptions to this rule must have prior approval of the School of Music
Director.
6.9 – JURY EXAMINATIONS
All students registered for applied study for 2-4 SH credit are expected to perform a jury
examination each semester before three or more faculty members. Juries are scheduled by
the area coordinators and held during final examination week. Students should be afforded
the courtesy of receiving advance notice of expectations, and follow-up consultations.
Copies of jury comment sheets must be furnished to Tammy Fretueg every semester for
placement in the student’s permanent files.
6.10 – STUDENT EVALUATIONS OF TEACHER AND COURSE
Faculty, regardless of status, must submit student course evaluations for all courses taught
fall and spring semesters; submission of evaluations for summer and inter-session courses is
optional. (2010 -2015 Agreement 20.11.f) Please refer to Appendix III for additional
information.
Due to the diverse nature of the kinds of teaching in the School of Music, no single evaluation
instrument is adequate. Faculty may choose to use the School of Music instrument
appropriate for the course (applied study, ensemble, classroom course) or the Purdue
cafeteria system, which enables faculty to choose questions reflective of the individual
course. See Tammy Fretueg for the forms and further information. After calculation, you
will receive one copy of the results, and a second copy is kept on file in the Music Office.
6.11 – GRADES
Grade books for keeping records of student attendance and grades are provided upon
request. Careful records and retention of grade books for at least five years will prove
necessary to you in the event of a grade appeal. Electronic grade book software is available
on the Local Area Network. Final grades are reported online using the GRRP screen on WIUP.
Forms for reporting a change of grade are available in the Music Office faculty cabinet.
These are used when an error in calculation of grade is discovered or when changing an
“incomplete” to a grade. Faculty are urged to give “incompletes” sparingly and to have
strong justification for doing so. Failure of a student to complete course assignments is not
normally justification for giving an incomplete unless the reasons were beyond the control of
the student. Please note the section on Grade Appeals in the Student Handbook.
Study has




shown that grade appeals most frequently stem from the following problems:
Vague course assignments and/or due dates
Changes of due dates without sufficient notice to students
Addition of major assignments not listed in the syllabus
No explanation either in syllabus or in class regarding the weighting of particular
grades or the system for determination of final grades, and/or end-of-semester
changes in the previously announced system
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


No clear outline of course or course objectives distributed to students
Subjective grading of exams and/or determination of final grades
Lack of regular feedback to the students throughout the semester
6.12 – INDEPENDENT STUDY/PRO-SEMINARS
Independent study is available for special study projects by individual students, and proseminars in selected topics are offered occasionally to small groups of students. Either
offering must cover a topic or subject that is not a normal curricular offering and receive
approval of the Director BEFORE the student registers. Independent Study application forms
are available in the Music Office.
When a student or advisor approaches you about supervising an independent study, first ask
the student to fill out an application form to be submitted to you for signature. Then, submit
the form to the Director for approval. A copy of the form indicating approval or non-approval
will be returned to you.
6.13 – ADVISING PROCEDURES
Several faculty members share student academic advising as an assigned duty with all music
faculty invited to counsel and discuss progress and career plans with any student at any time.
Any questions regarding this area should be directed to Dr. Moisés Molina.
6.14 – MUSIC EDUCATION COURSES
The State Department of Education requires 100 clock hours of pre-student teaching clinical
experience for all teacher education students. Of these 100 hours, 58 are distributed within
the Educational Foundations courses 201, 301, 302, and 303 all of which are required of our
students. The remaining 42-45 hours are a part of the following music education core
courses:









Music 130
Music 330
Music 331
Music 332
Music 333
Music 334
Music 335
Music 336
Educ 439
– Intro to Music Education
– Basic Conducting
– Choral Conducting
– Instrumental Conducting
– Music Teaching in the Elementary/Middle School
– Music for the Exceptional Child
– Choral Methods
– Instrumental Methods
– Music Teaching in the Secondary School
Teacher Education students enrolled in the above classes fulfill the clock-hour requirement
through observation, peer teaching, and in-school teaching. For the most current information
in the Music Education Handbook, refer to the website:
http://www.wiu.edu/cofac/musiceducation/resources.php
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6.15 – REGISTRATION FOR ENSEMBLES
All students regularly performing in an ensemble must be registered for credit in that
ensemble. It is especially important that ensemble directors do not take students off-campus
for ensemble performances unless all students are duly registered and a request for offcampus performance has been submitted in writing to the Director. All students who are
registered for applied study must be concurrently registered for ensemble experience in order
for the School of Music to meet NASM criteria. Keyboard majors who do not participate in
instrumental or choral ensembles must be registered for Music 125 and/or be assigned
chamber or accompanying experiences.
7.0 – MUSIC LIBRARY
7.1 – GENERAL
Names and addresses of persons having library materials checked out will not be released.
Such information is confidential.
7.2 – RESERVE POLICIES
When submitting materials to be placed on reserve, faculty members are responsible for
providing author, title, and call numbers of the items to be placed on reserve. Items to be
placed on reserve for purposes other than courses, such as audition tapes, faculty evaluation
files, etc., should indicate instructions for use. Faculty members should allow time for
materials to be placed on reserve after their lists have been submitted to the Music Library.
AT busy times (i.e. the start of the semester) allow at least 48 hours for processing.
Materials, which are needed for reserve, may be recalled at any time. Personal copies may be
placed on reserve in the Music Library with the understanding that the Music Library is not
responsible for their theft and/or mutilation. Professor’s copies will be “sensitized” to
activate the gate alarm and bar coded for checkout purposes.
Faculty wishing reserve materials to be used in some way other than traditional in-house use
(such as overnight, 2-days, etc.) should indicate those instructions. Unless such instructions
are included, it will be assumed that these materials are to be used only in the library.
No faculty member may remove from the Music Library any item placed on reserve by another
faculty member without written consent from the faculty member who placed the item on
reserve. All reserve items will be taken off reserve at the end of each semester unless a
faculty member specifically requests otherwise. Faculty members wishing to remove personal
copies from their reserves should coordinate this with the Music Library, so that the item can
be properly removed from the class reserve. Faculty are expected to provide the Music
Library with a current reserve list each semester they wish to have materials placed on
reserve. It is not the responsibility of the Music Library to maintain and up-to-date file of
reserve lists from previous years or to place materials on reserve without a specific request
from a faculty member.
IMPORTANT NOTE: DO NOT SEND YOUR STUDENT TO THE LIBRARY TO USE RESERVES UNTIL (A)
YOU HAVE BROUGHT THE ITEM TO THE MUSIC LIBRARY TO HAVE IT PLACED ON RESERVE AND
(B) YOU HAVE ALLOWED ENOUGH TIME FOR MUSIC LIBRARY PERSONNEL TO PLACE IT ON
RESERVE!
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7.3 – CIRCULATION POLICIES
All music library patrons must present a valid WIU ID or Supplementary Library Card to check
out materials. All materials are checked out using the automated circulation module.
LOAN PERIODS:
Books and Scores (M,ML,MT, except for exceptions noted below) –
Students, staff, area residents – 4 weeks
Graduate Students – 8 weeks
Faculty – 16 weeks
Scores Classed as M3 (Collected editions) –
Students, staff, area residents – no circulation
Faculty and Music & Theatre Graduate Students – 1 week
Sound Recordings (CDs, CD-ROMs, LPs, Cassettes)
Students – 3 days
Faculty and graduate students – 4 weeks
Area residents & staff – 2 weeks
Video Recordings (DVDs, VHSs)
All patrons – 2 weeks
MTE’s (Music Education series books)
Students, staff, area residents, Faculty and Music & Theatre graduate students – 1
week
Overnight Reserve
All persons – checked out 1 hour before closing, checked in 1 hour after the next
opening
Permanent Reserve
Students, staff, area residents – no circulation
Faculty and graduate students – 1 week
Note: Restricted Reference and Reference Books are in-house use only.
For Research and teaching purposes, Periodicals may be checked out by faculty for 2 days.
Exceptions to the above loan periods may be made on a case-by-case basis with permission
from the Music Librarian. Students may check out non-circulation materials, except restricted
materials, for the following reasons: for use in one class period, on deposit of a valid picture
ID.
RECALLS, HOLDS AND SEARCHES:
If an item you want is not on the shelf: Ask at the circulation desk to see if it is overdue. If
the item is checked out and overdue, we will recall it and notify you of its return, holding it
for three (3) days. If the item is checked out but NOT overdue, we will put a HOLD on it and
notify you when it is returned, holding it for you for three (3) days. If an item is not checked
out and not on the shelf, complete a blue search card (available at the circulation desk) and
we will notify you if we find it.
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An item may be recalled at any time for a reserve assignment. Any item checked out for more
than one loan period may be recalled for use by other library users. This includes materials
that have been renewed.
Although faculty members are not charged for overdue materials, failure to return items in a
timely manner is considered unprofessional. In consultation with the department chair,
persistent or unresponsive offenders may have their borrowing privileges suspended. It is
expected that those who lose or mutilate library materials replace them with an exact
duplicate or with an equivalent as specified by the Music Librarian.
It is the responsibility of the person who checks out an item from the Music Library to see
that it is returned. THE PERSON TO WHOM THE ITEM IS CHECKED OUT IS ULTIMATELY
RESPONSIBLE FOR THAT ITEM.
Library users must check out library materials IN PERSON. No person will be allowed to check
out library materials for another. Exception: Faculty wishing to have a student check out
materials for them must fill out a form at the start or during the course of the academic year
designating a student or students to act as their surrogate. Items will then be checked out to
the professor’s account.
7.4 – AUDIO EQUIPMENT USE
The Music Library’s listening equipment may be used ONLY in the Music Library. The Music
Library adheres to copyright law in the making of copies on its equipment.
7.5 – MATERIALS REQUESTS
Books, scores and sound recordings
New materials can be requested at any time, but only those ordered in the fall (between
August and December) will be received during the current year. Requests may be submitted
through e-mail, by marking a publisher’s catalog, a legibly produced list, etc. Although
faculty requests are a high priority for purchase, those which do not conform to the Music
Library’s collection development policy may not be ordered.
Periodical titles
In the current financial climate, the library has instituted a quid-pro-quo policy for new
periodical requests; to order a new periodical title, one of an equivalent cost must be
cancelled.
Videos
During the course of the fall semester 2006, all music-centered videotapes and DVDs were
transferred to the Music Library. Audiovisual items will only be purchased in DVD format.
Purchase requests will be treated as for all other media.
If a faculty member needs an item RUSH, he/she should communicate this information to the
Music Librarian, and every effort will be made to make the item available as soon as possible.
7.6 – LIBRARY INSTRUCTION/INFORMATION LITERACY
The Music Librarian is happy to offer instruction sessions for classes. Please contact him well
in advance to schedule a class. Regarding the use of computer classrooms in Malpass Library,
library policy states: “Generally speaking, faculty may reserve a classroom no more than
three hours a semester for any particular class.” Experience has shown that library instruction
works best when directly related to class assignments. The Music Librarian is always happy to
33
consult on the design and implementation of such assignments. It is highly desirable that
professors attend instruction classes with their students to derive maximum benefit from the
sessions.
8.0 – ABSENCE/TRAVEL
8.1 – ABSENCE (SICK LEAVE, PERSONAL LEAVE, CONFERENCE ATTENDANCE)
All faculty absences must be reported to the Director prior to the date of the absence. Forms
are available in the Music Office for this purpose. In the event of an emergency absence, a
written report of the absence must be filed upon return. Even attendance at professional
conferences/meetings which do not involve allocation of university travel funding or use of a
state car must be reported to the Director prior to the absence if such absence occurs on a
day the university is in session.
All sick days and personal days must be reported to the Director and the Music Office staff at
the time of the occurrence regardless of provisions made by the faculty member for making
up lessons, rehearsals, classes or other assigned duties. Up to five days of sick leave per year
may be used for personal days. Please see Article 27.8 of the Agreement 2010-2015 for
additional information on personal leave.
Additional details on sick leave (Article 27.7), can be found in the UPI 2010-2015
Agreement, and the WIU faculty handbook.
8.2 – TRAVEL/REQUEST TO TRAVEL FORM/UNIVERSITY VEHICLES
If request is made well in advance and approved, state vehicles are usually available through
the University’s Transportation Services. A requisition will be typed online and submitted to that
department, using information from the completed travel request. All mileage for state vehicle
use is billed to the School of Music at $.50 per mile for cars with a daily minimum of $15.00
and 30 miles and a weekly minimum of $70.00 for 140 miles; $.55 per mile for mini-vans with
a daily minimum of $15.00 for 27 miles and weekly minimum of $80.00 for 145 miles. Charge
for 15 passenger vans is $.80 per mile with a daily minimum of $25.00 and 31 miles and a
weekly minimum of $125.00 or 156 miles. Extended parking is $10 per day, excluding days to
and from the airport, train station, etc. Rates include fuel and emergency repairs. The
reimbursement for use of a personal vehicle must be paid at the state-mandated rate of 57.5
cents per mile. There is a “No Show/No Cancellation Fee” of $25 for all 12/15 passenger and
cargo vans that are not used for the requested trip, and are not canceled 48 hours or two full
business days (if the trip is after a weekend or a holiday) before the pick up time on the trip
sheet. There is a $25 extraordinary cleaning fee. Please be aware of these extra charges and
take the necessary steps required to keep costs down. In addition, an updated Employee's
Certification - Privately Owned Vehicles form is required for employees who operate a
privately owned vehicle for State Business. The certification process is online through WIUP
on the web, screen VINC. All employees will be required to complete the online certification
before being reimbursed for travel expenses related to personal vehicle use. (Using
university vehicles ordinarily is more economical than payment of reimbursement for use
of a personal vehicle.)
Travel requests are available in the Music Office. Fill out the form and submit your request
for absence. Requests for faculty travel funding now goes to the Provost. Requests for travel
34
professional conference registration fee funding goes to the Dean. All travel is funded from
the fiscal year in which it occurs.
University Vehicles:
After approval, you will receive a copy of the request IF THERE IS A CAR AVAILABLE. When
checking out the vehicle, present the copy of the T-1 form to the garage personnel at the
Physical Plant. If departing after hours, pick up vehicle keys before the garage’s closing hours
– 5 p.m. on Weekdays, 2 p.m. on Saturdays. The garage is closed on all Sundays and holidays.
Vehicles are never to be taken the day before and parked overnight anywhere except the
University Garage. When returning after hours, place the keys along with the form (be sure
to record your mileage) in the slot in the garage door.
Travel Receipts:
Upon your return, please bring any requested receipts to Tammy Fretueg who will initiate a
travel voucher. ORIGINAL RECEIPTS ARE REQUIRED FOR: (a) COMMERCIAL TRANSPORTATION;
(b) HOTEL EXPENSES; (c) ANY ITEM $5.00 OR MORE. (If you are sharing a room with another
person, and you wish to be reimbursed, you must ask the hotel desk to prepare separate
bills for each person splitting the total bill.) After you have signed the travel voucher, it will
be sent to the Business Office for payment. Processing sometimes takes 10 days to 2 weeks
and payment will be deposited electronically into your bank account in the same manner as
your monthly salary. All travel vouchers must be completed within 30 days of the time of
travel or they will become void in the Business Office and your request for reimbursement of
expenses will not be honored.
9.0 – RECRUITMENT/PROSPECTIVE STUDENTS
9.1 – GENERAL PROCEDURES FOR RECRUITMENT AND ACCEPTANCE OF
PROSPECTIVE STUDENTS
9.1a – INITIAL CONTACTS
Names of prospective students are received from faculty contact, admissions
recruiter or other sources. This information is submitted to Trista Trone. She
initiates a computer file, sends an email and/or calls the student to establish a line
of communication, and notifies the appropriate faculty for follow-up (letters,
brochures, telephoning, etc.) All additional information on these contacts must be
reported back to Trista Trone for incorporation into the file of the individual
student. It is very important that she receives this information so one “master”
source of information exists for each prospective student.
9.1b – FOLLOW UP
Appropriate individual faculty members should do follow-up contact with the
student. Each faculty member may compose a standard follow-up letter and
designate enclosures, which Trista Trone will prepare for your signature upon your
request for same. These should all be done through her so one source is aware of
what has been done. If you wish to do your own individualized response letters
please furnish Trista Trone with a copy for the prospective student’s computer file
each time you correspond. Please copy Trista on all email correspondence.
9.1c – AUDITIONS
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All students who desire to enter music degree programs must audition. Audition
Committee members and other faculty members hear the audition, determine
entrance eligibility and make general recommendations concerning Talent Grant
Awards. All individuals hearing an audition will indicate the type of acceptance on
the Music Audition form; i.e., full acceptance, probationary acceptance, or nonacceptance. It is particularly important that specific reasons for non-acceptance be
clearly stated.
9.1d – AWARD LETTERS
Talent Grants, Tuition Waivers, and memorial Scholarships are awarded in varying
amounts depending upon the student’s talent and the needs of our ensemble
program. The Auditions/Talent Grants committee meets regularly to review the
status of awards/award offers and to coordinate the allocation of these resources in
a manner that promotes the best overall distribution of student awards in the entire
School of Music. Trista Trone will write a letter to each student who auditioned
indicating whether or not the student received an award and, if so, the amount of
the award.
9.1e – ACCEPTANCE STATUS
The School of Music Director or designee, after reviewing the recommendations of
the Auditions Committee writes a letter to each student describing his/her
acceptance status. The following wording is used in the student letters and defines
acceptance status categories.

Full Acceptance as a Music Major: You are performing on the level
normally expected of an entering student of your classification (freshman,
sophomore, junior, senior), and that we anticipate you will have no
particular difficulty in handling the appropriate courses in music. Please be
aware that even though you may have indicated an interest in music as a
minor, rather than a major, you have the qualifications for entering as a
music major should you decide to do so.

Full Acceptance as a Music Minor: Your level of performance and
background in music indicate you could more appropriately meet the
requirements of the music minor rather than the greater demands of a
music major program.

Probationary Acceptance as Music Major or Minor: The performance
audition on your principal instrument/voice is below what is normally
expected of an entering student of your classification. You will be expected
to work very hard in your lessons to make up these deficiencies plus bring
yourself up to level by the end of the first year.

Not Accepted as Music Major or Minor: Your audition does not indicate you
have sufficient background in music to be successful in college level study
at this time. If you feel you simply had an “off” day, and could perform
much better at another time, you may request a second audition. We
suggest you prepare for future auditions through private lesson study with
the finest studio teacher available in your area. We hope you will still plan
to attend WIU and will be able to find a major that will better fit your
needs. If so, you are encouraged to pursue your interest in music through
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participation in one or more of our music ensembles which are open to all
university students.
9.1f – INITIAL REGISTRATION
The School of Music Assistant Director (or designee) meets with each freshman
and transfer student who appears for pre-registration to work out the schedule
of lessons, classes, and ensembles. Throughout the process, the Assistant
Director compiles a list/report of all new freshmen and transfer students
(including acceptance status) that is available to the faculty via e-mail.
9.1g – FOLLOW-UP OF PROBATIONARY STUDENTS
The applied faculty member who teaches a student accepted on probationary
or provisional status keeps a record of the progress of this student. This person
then forwards a progress report to the School of Music Assistant Director at the
end of the first two semesters of study.
9.2 - POLICY FOR AUDITIONING AND ACCEPTING INCOMING STUDENTS
All students who wish to declare a music major, general minor, or a jazz studies minor
must formally audition before the Auditions Committee (or a reasonable proportion
thereof) before registering for music minor/major classes.
Music Audition dates are listed below. All School of Music Faculty members should be
available on these days and contribute to a successful “open house” atmosphere. Please
plan to suspend regularly scheduled classes, lessons, and rehearsals on Monday, February
15, 2016 (President’s Day).
Auditions for students wishing to enter January 2016 or August 2016 as well as on-campus
students who decide they would like to declare a music major or minor and desire
consideration for Talent Grant or other awards may audition on these scheduled dates:
•
•
•
•
December 5, 2015
January 16, 2016 (Chicago Location TBA)
February 6, 2016
February 15, 2016 (President’s Day)
Every effort should be made to advise students to audition on one of the above dates. It is
to their advantage when the full committee is on hand. Students wishing to enter January
2016, as well as on-campus students who decide they would like to declare the music
major or minor the following semester, should audition on December 5, 2015 or by
special arrangement.
9.2a – OTHER AUDITIONS ISSUES
Every student who wishes to audition may not be able to do so on one of the
organized dates. A very good prospect may be identified during one of our
special events who legitimately cannot be available on the audition days, or
resides too far from campus to appear in person.
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International and other geographically challenged students should prepare
an audition recording that includes prepared performance and supervised
sight-reading. Written verification (by an appropriate music instructor) of
the authenticity of both the performance and sight-reading should
accompany the recording. These recordings will be heard by the audition
committee who will fill out the usual audition comment sheets. Students
should be informed that they will need to complete placement examinations
as needed when they arrive on campus.
Under normal circumstances, no audition should be accomplished without
the prior knowledge or consent of the Auditions Committee. In the very
unusual event this is not possible, Trista Trone needs to be immediately
informed. Every effort should be made to include a minimum of two
members of the Audition Committee. Music Audition forms must be
completed by all those in attendance at the audition and immediately
forwarded to Trista Trone.
9.3 – SCHOOL OF MUSIC TALENT GRANTS, TUITION WAIVERS, AND
SCHOLARSHIPS
The School of Music grants a limited number of awards to qualified students who
complete an audition and meet the requirements for these awards. Awards are
determined by the School of Music Auditions/Talent Grant Committee and are decided in
the Spring semester for the following Fall term.
All recipients of talent grants and tuition waivers are expected to participate in School of
Music performing ensembles. The School of Music Auditions/Talent Grant Committee, in
conjunction with the Ensemble Directors, will determine (and subsequently monitor)
appropriate participation, considering the particular balance of grants and tuition waivers
received by each student.
In addition to the scholarships and talent grants offered by the Auditions/Talent Grant
Committee, the following scholarships are awarded by selected faculty members who
decide the recipients:
NAMM Award – Courtney Blankenship
The Most Versatile Percussionist – Percussion faculty
The Rex and Ann Collins Jazz Piano Scholarship – Jazz Faculty
The Jane Lanier Synovitz Memorial Scholarship – Voice Faculty
The Bruce Gardner Singer Scholarship – Voice Faculty
Gene Michael Goad Scholarship- Voice Faculty
Dr. Claudia McCain Music Business Scholarship-Director of the Music Business Program,
Music Librarian, and at least one other School of Music faculty member
The Scholarships are:
THE BLYLER AWARD FOR MUSICAL EXCELLENCE
This account was established by Dr. Dorothy Blyler in memory of her parents. Dr. Blyler
was a professor in the School of Music from 1949-1967. Awarded to a student who have
been in the School of Music two years, has an overall grade point average of 2.5 or better,
a 3.0 grade point average in music subjects, and who displays a professional attitude
toward music as evidenced by participation in performance groups and service to the
School of Music. The recipient will be selected by the School of Music Faculty and Talent
Grand Committee.
38
REX AND ANN COLLINS JAZZ SCHOLARSHIP
The scholarship was established by Rex and Ann Collins to further solidfy the WIU Jazz
Studies Program as the premier jazz program in the region. Ann Collins earned her
graduate and undergraduate degree from WIU then taught in the School of Music for 29
years before retiring in 1997. She served as the Chairperson of the Department of Music
for 9 years. This scholarship is awarded to incoming freshman demonstrating significant
talent to the Jazz Studies Program faculty on bass, guitar, trumpet, trombone,
saxophone, piano, or percussion. Student must participate in at least two School of Music
ensembles.
THE LAURA BEU MUSIC SCHOLARSHIP
This account became known to the WIU Foundation in 1982 when Dr. Frank Beu,
President Emeritus of WIU, gave his last will and testament that would provide funding to
WIU for the creation of three funds. Dr. Beu was a Professor of Education and President
of WIU from 1942-1957. The recipient must have at least a 3.0 cumulative grade point
average, be a sophomore, junior or senior. Selection is made by the School of Music
Faculty under the direction of the School of Music Director.
THE WALTER H. ELLER MUSIC SCHOLARSHIP
The Eller scholarship is to be presented annually to a junior student and member of the
WIU Band program. The recipient must have an overall grade point average which would
place the student in the top three grade point averages from all scholarship applicants.
Selection is to be made by the School of Music Faculty and Talent Grant Committee. This
award is $100 annually, and the scholarship is not renewable.
THE DR. A. OREN GOULD SCHOLARSHIP
This award is made to a junior music major in instrumental music education. Recipient
must have an overall grade point average of 2.5 with a grade point average of 3.0 in
music classes. Selection is to be made by the Scholarship Committee of the School of
Music. The award is $200, and the scholarship is not renewable.
THE CLIFFORD A. AND ROSA JULSTROM SCHOLARSHIP
Applicants for this award must be juniors who are full-time students and majors in string
music. A minimum cumulative grade point average of 3.0 or better is required. This
scholarship is valued at $500 and will be paid in two installments. The first payment will
be made at the opening of the fall semester and the second one will be made the third
week of spring semester. This scholarship is renewable if the recipient continues to major
in string music and maintains a cumulative grade point average of 3.0 or better.
Selection is to be made by the Scholarship Committee of the School of Music. The
recipient will be recognized at the Annual Foundation Scholars’ Recognition Ceremony
THE ROSCOE G. LINDER BAND SCHOLARSHIP
Applicants for this scholarship should be at least a second year (or above) band member
in good standing and should be able to demonstrate dependability, leadership qualities
and service to the School of Music. The persons selected should maintain at least a 3.0
average or better while a full-time student at WIU, show potential for growth as a private
instructor, band director, performer, or composer, and show some achievement and
excellence in some area of instrumental music. Two awards of $900 each are given each
year, paid in two installments. Selection is to be made by the Scholarship Committee. If
any of the above criteria cannot be met (exclusive of the grade point average
requirement), the selection committee is empowered to use its best judgment in making
reasonable student selections.
THE JAMES MAGSIG COLLABORATIVE PIANO SCHOLARSHIP
39
This scholarship was established as an endowment through the generosity of James
Magsig. Jim was a Professor of Music at WIU for many years. The recipient(s) for this
scholarship must be a student accompanist in the School of Music, be a Music major or
minor in good academic standing, and demonstrate a record of outstanding work as an
accompanist in either the School of Music or for entering students, in the student’s prior
experience. Financial need can be a consideration. Selection is to be made by the School
of Music Auditions/Talent Grant Committee with input from the Accompanying
Coordinator in consultation with the School of Music Faculty. Newly entering students
will be evaluated by the Music Auditions/Talent Grant Committee. This award may be
renewed annually if the recipient continues to meet the award criteria.
THE LILLIAN RUTH ROBERTSON SCHOLARSHIP IN PIANO
The recipient(s) for this scholarship must be an incoming freshman female Music major
whose primary instrument is the piano. The award is based on performance as
determined by audition, with academic record taken into consideration. Selection is to
be made by the Talent Grant Committee with input from the keyboard faculty. The
award varies year is to be paid in two installments. It can be renewed as determined by
the Talent Grant Committee and Keyboard faculty.
THE LILLIAN RUTH ROBERTSON SCHOLARSHIP IN VOICE
The recipient(s) for this scholarship must be an incoming freshman female Music major.
Selection is to be made by the Talent Grant Committee with input from the vocal faculty.
The award varies annually and is payable in two installments. The award is renewable
subject to the decision of the Talent Grant Committee if the student continues to
demonstrate merit and potential.
THE LILLIAN RUTH ROBERTSON SCHOLARSHIP IN STRINGS
The recipient(s) for this scholarship must plan on or be a Music major, and plan on
participating in ensembles. Selection is to be made by the Talent Grant Committee, with
input from the string faculty. The award amount varies each year and is payable in two
installments. The award may be renewable up to four years if the student continues to
demonstrate merit and potential.
THE BESSIE MYERS MUSIC SCHOLARSHIP
It is the expressed wish of the donor, the late Ms. Bessie Myers that the students
receiving this scholarship, will be chosen for their financial need, their capability and
proficiency in performance. Applicants must be a Music major. The award varies from
year to year. Selection is to be made by the Talent Grant Committee, and the award may
be renewed as determined by them.
THE HUGO MAGLIOCCO TROMBONE SCHOLARSHIP
Upon retirement after a 36-year career at Western Illinois University, Western’s first
trombone instructor, Dr. Hugo Magliocco, has established a trombone scholarship through
the WIU Foundation. The recipient of this award must be an international student or an
African American/Hispanic American student. The recipient must be entering the School
of Music for the first time as a freshman or transfer student and must have auditioned for,
won and continue to maintain a talent grant award through the School of Music. This
scholarship will be used to supplement the talent grand award to cover tuition and fees.
If the student is granted a full tuition award from the School of Music, this award will
consist of an annual stipend as determined by the WIU Foundation based on resources
available in the scholarship account. The scholarship is renewable for up to eight
continuous semesters as long as the student remains a full-time music major and
continues to study trombone each semester in residency. The student must maintain a
GPA of 3.0 in music (excluding all ensemble grades), and a 2.5 GPA outside of music each
semester.
40
THE JANE LANIER SYNOVITZ MEMORIAL SCHOLARSHIP
This account was established in 1980 by Dr. Robert J. Synovitz, WIU professor, in memory
of his late wife Jane Lanier Synovitz.The Recipient of this award must be a junior woman
with a grade point average of 2.8 or above, and outstanding vocalist, and a major in
music. Selection is made by the Talent Grant Committee with input from the Vocal Music
Coordinator.
THE WANNINGER FOUNDATION SCHOLARSHIP
The Wanninger Foundation was established in 1984 by the children of Forrest and Mary
Wanninger in recognition of their parents’ long dedication to the teaching of music and
English. This award is rotated annually between the School of Music and Department of
English. Scholarships are available to students whose educational careers were
interrupted for at least two years and now have decided to continue their education.
Candidates may be pursuing a baccalaureate or a graduate degree and must be a full-time
student pursuing a degree in either education or liberal arts in education or performance
with vocal music emphasis. Undergraduate candidates must maintain at least a 2.5
average and a graduate candidate a 3.0 average. Selection is to be made by the Talent
Grant Committee. The award is renewable for one year if the minimum grade point
average is maintained, with recommendation from the Talent Grant Committee.
WIU VOCAL JAZZ
The scholarship was originally established in late 1977 by Dr. and Mrs. James L Conley in
support of WIU Newcomers. Recipients must be a member of the WIU Vocal Jazz
Ensemble, including band members.
NAMM AWARD
$1000 each year is given by the National Association of Music Merchants to one or two
Music Business majors who have successfully completed four semesters of Music Theory,
four semesters of Applied Study, Economics and Accounting, and possess a high grade
point average. Recipients are expected to attend a NAMM trade show and must plan to
intern in the music products industry. Application should be made to Courtney
Blankenship and selection is made by NAMM.
TOM WOOD CLARINET SCHOLARSHIP
Applicants for this scholarship must be an undergraduate or graduate Music Performance
or Music Education major with clarinet as their primary instrument, must demonstrate
significant musical talent, and demonstrate financial need. Selection is made by the
Talent Grant Committee. Continued growth and participation in the School of Music as a
major will be part of the criteria for renewability.
THE RUBY MILLER RAGLIN MEMORIAL SCHOLARSHIP IN MUSIC
The Ruby Miller Raglin Memorial Scholarship in Music was established in 1999 by the
Orpha Raglin Welke Estate to provide scholarship assistance to outstanding students in
music performance. Applicants for this scholarship must be a music major, participate in
performance groups, demonstrate potential to become a professional musician,
demonstrate dependability, leadership, and service to the School of Music, and
demonstrate outstanding musicianship. More than one recipient may be selected and the
award amounts can vary. Selection will be made by the Talent Grant/Auditions
Committee. Evidence of outstanding potential as a musician and co-curricular activities
will be considered in awarding the scholarship. The scholarship can be renewed if the
recipient remains a music major and continues to demonstrate outstanding musicianship.
THE BRUCE GARDNER SINGER SCHOLARSHIP
41
The intent of this scholarship is to encourage the attraction, retention and development
of outstanding singers in the WIU School of Music. It is intended not only to attract vocal
musicians, but also to encourage their continued vocal, musical and scholastic growth. It
is further intended as an incentive for each of its recipients to strive to achieve the
highest possible level of professional vocal musicianship. This scholarship was established
in 2001 by Associate Professor of Music Emeritus R. Bruce Gardner and his wife Lila L.
Gardner. Applicants for this scholarship must be an undergraduate or graduate Music
major whose primary performing instrument is voice, and must demonstrate a
combination of performance quality and perceived vocal potential. (If a choice must be
made from among vocal and musical equals, preference is to be given to the tenor voice if
applicable.) Eligibility is determined by audition for the studio voice faculty. Upon the
discretion of the studio voice faculty, this may be renewed if the student remains a vocal
Music major and maintains at least a 3.0 grade point average.
THE MOST VERSATILE PERCUSSIONIST
This award is offered each year to a qualified percussionist at WIU. It is renewable for
two years if the student meets the following criteria: 1. Eligible to apply for the award
during or after the freshman year; 2. Must have participated in the WIU Steel Band for 1
year prior to applying; 3. GPA must be 2.75 or better; 4. Must demonstrate an interest in
world music through performance and or participation in world music ensemble; 5. Must
take an active leadership role in the WIU Steel Band and World Music Ensemble.
Application forms are available from the School of Music and should be submitted for
consideration by April 15 for the ensuing academic year. Awards are $500 per year for a
total of two years, if eligibility is maintained. Selection will be made by the percussion
faculty.
THE GRANT AND KATHRYN SHANKLIN SCHOLARSHIP
The Shanklin Scholarship was established to honor Grant and Kathryn Shanklin, who were
both active in the Macomb community through their lives. The selection of scholarship
recipients will be made by the School of Music Talent Grant/Auditions Committee. The
award is $500 per year and is renewable if the recipient continues to major in a music
degree program and maintains a 3.00 cumulative grade point average. The recipient
should demonstrate significant musical talent, enrolled in a music degree program as a
major, earn a 3.0 grade point average or better, and be a sophomore, junior, senior or
graduate student. Financial need may be considered.
THE ANN COLLINS JAZZ PIANO SCHOLARSHIP
The Ann Collins Scholarship, established by Ann and Rex Collins of Macomb, will be
awarded to a student who demonstrates significant musical talent in jazz piano
performance. Applicants must be enrolled in a music degree program as a major or minor
and maintain a minimum grade point average of 3.00. This $1,000 annual award can be
renewed based upon the recipient’s continued growth as a musician and jazz pianist, if
excellent service to WIU jazz ensembles is demonstrated. Selection will be made by the
School of Music Talent Grant/Auditions Committee in consultation with the jazz faculty.
THE RHODA BUTLER COLLABORATIVE PIANO SCHOLARSHIP
This scholarship was established and funded by Rhoda Grass Butler. She enriched lives of
many within the community and university since her arrival to Macomb, IL in 1969. She
has worked as an active accompanist in the Macomb area for more than 40 years and as a
staff accompanist for WIU School of Music from 1990-2002. The Butler Scholarship is open
to juniors, seniors, or graduate level accompanists in the School of Music who have
demonstrated a record of active and outstanding work as an accompanist in either the
WIU School of Music, or for entering students, in the student’s prior experience. Music
majors will be given priority. A GPA of 3.0 is required.
42
THE DALE HOPPER JAZZ STUDIES MEMORIAL SCHOLARSHIP
This scholarship was established as a memorial to honor the School of Music’s late jazz
professor emeritus, Dale F. Hopper of Macomb, Illinois. Applicants should be a Music
major and demonstrate significant musical talent; must specifically exhibit interest and
talent in jazz performance and excellent service to WIU jazz ensembles. Selection is to
be made by the Talent Grant Committee in consultation with the jazz faculty.
THE VIOLET H. POPPLETON SCHOLARSHIP
The Violet H. Poppleton scholarship for a female vocal music major was established in
2004 by her children, Terry Poppleton, Nancy Krey (WIU 1970, 1980), and Jill Zeitlin
through the WIU Foundation. Mrs. Poppleton’s greatest love was music, and it is the
family’s hope that this award will help a female voice major in the School of Music, not
only to cultivate her musical talents, but also to foster the same passion for music which
Vi Poppleton enjoyed throughout her lifetime. Selection will be made by the voice faculty
in the School of Music.
DAVID AND SUSAN REEM SCHOLARSHIPS FOR EXCELLENCE
These annual scholarships reward undergraduate musical excellence in the areas of voice
(baritone), horn and strings. The Reems were motivated to establish these scholarships
by the extremely positive experience their sons, John and Dan, enjoyed while students at
WIU. Moreover, the Reem scholarships reflect the esteem in which they hold the WIU
School of Music in general and faculty members James Stegall, Randall Faust, and Richard
Hughey in particular. Recipients must be currently enrolled, full-time WIU junior or rising
junior pursuing a bachelor’s degree in music or a full-time transfer student entering WIU
as a junior or senior and pursuing a bachelor’s degree in music. Recipients must have a
minimum GPA of 3.0 and participate in the ensemble program. Selection will be made by
a faculty committee convened by the Director of the School of Music.
THE GENE MICHAEL GOAD SCHOLARSHIP
This scholarship was established by Sue and Brett Goad in memory of their son, Gene.
Gene was born in Macomb, Illinois and returned there after high school to complete his
Associate Degree from Spoon River College. Brett Goad, Gene’s father, graduated from
WIU with both his bachelor and master’s degrees in choral music. Music played a big part
in Gene’s life and this annual award was established to help a WIU junior reach their
career goal to have choral music as their vocation. Recipients must be currently enrolled
full time junior status pursuing a bachelor degree in choral music. Recipients must have a
minimum GPA of 2.5 overall with a GPA of 3.0 or higher in music, and must participate in
at least two WIU School of Music ensembles. This scholarship provides for one annual
$1,500 award.
DR. CLAUDIA MCCAIN MUSIC BUSINESS SCHOLARSHIP
This account was established in March of 2007 to create the Dr. Claudia McCain Music
Business Scholarship Fund. Dr. McCain taught in the School of Music for over 20 years.
This scholarship was established to support students who demonstrate outstanding
qualities in work ethic, leadership, experience and knowledge or a particular field of
music business, and involvement in the School of Music Ensembles. Recipients must be a
senior, music business major and have a minimum GPA of 3.0.
DR. TANYA LESINSKY CAREY SUZUKI FUND SCHOLARSHIP
WIU Suzuki Strings Program has been granting scholarships since its inception in 1972.
The origin of the funds was from the donation of free lesson fees paid by Suzuki families
for Almita Vamos and Tanya Carey. In 1999, after the termination of the WIU Suzuki
Program, the scholarship was renamed in honor of Tanya Lesinsky Carey. Recipients must
be a music major on string instruments.
43
GOLDEN LYRE FOUNDATION SCHOLARSHIP
The Illinois Federation of Music Clubs, as a member of the National Federation of of Music
Clubs, voted at the State Board meeting to award a gift annually to WIU from the Golden
Lyre Foundation. Recipient should be a music major who demonstrates outstanding
musical talent.
10.0 – ASSESSMENT PROCEDURES FOR UNDERGRADUATE MAJORS
10.1 – FACULTY RESPONSIBILITIES
The members of the Auditions Committee are responsible for entry-level assessment.
Representatives from theory and keyboard who give placement examinations assist them in
the evaluation process.
10.2 – ENTRY LEVEL ASSESSMENT
A high school diploma, ACT score, and class standing for admission to Western, do not
guarantee that a student has the necessary background in music for success in a university
level music major/minor program. Therefore, all prospective students must successfully
complete the following examinations before registering for music major/minor classes:
1. Performance audition
2. Sight-reading on principal instrument
On the basis of these examinations, the acceptance status of each prospective student is
determined:
1. Full acceptance as a music major/minor;
2. Probationary acceptance as a music major/minor;
3. Non-acceptance as a music major/minor
10.3 – UNDERGRADUATE MID-CAREER ASSESSMENT PLAN (UMCA)
Rationale:
The Higher Learning Commission recognizes that every institution must create its own
unique assessment methods but that all successful assessment of student learning can be
characterized by these qualities: unobtrusive, flexible, specific, measurable, attainable,
relevant, time-bound, and sustainable.
The Western Illinois University Student Learning Assessment Committee charges
each department to continually improve undergraduate and graduate education
through
1) Cyclical processes of identifying learning outcomes,
2) Assessing student achievement of those outcomes,
3) Analyzing results of assessment, and
4) Using results of assessment to enhance curriculum and the teaching-learning process.
Suggested methods of measuring undergraduate student learning include a broad
range of quantitative and qualitative measures such as regular classroom
activities, standardized tests, locally developed instruments, student focus
groups, attitudinal and survey data. The university assessment plan includes a
44
call for departmental reports submitted annually to the Office of the Provost
through the college dean.
The School of Music responds to these charges by
1) Continuously reviewing and revising qualitative and quantitative measures
such as regular classroom activities and grades, entrance audition standards,
applied jury grades, course prerequisites and co requisites, surveys, etc.
2) Applying the Undergraduate Mid-Career Assessment (UMCA) developed in
2007.
Method:
The School of Music Director appoints an Undergraduate Assessment Coordinator
to administrate undergraduate mid-career assessment and maintain annual
reports.
Undergraduate Mid-Career Assessment Plan
1) Cyclical process of identifying learning outcomes
The Assessment Coordinator works with the Director, the Assistant Director, the
Undergraduate Studies Committee and the Graduate Studies Committee and faculty to
maintain consensus on identifying learning outcomes.
2) Assessing student achievement of those outcomes
The Assessment Coordinator maintains an accurate database of student learning
outcomes, then forwards assessment data to advisors who identify and counsel students
not progressing in their degree programs.
3) Analyzing results of assessment
The Assessment Coordinator forwards the assessment data to the Undergraduate Studies
Committee who analyze the data using year-to-year, course-to-course, transfer- and
native-admissions comparisons, direct and indirect measure comparisons, etc.
4) Using results of assessment to enhance curriculum and teaching-learning process
The Assessment Coordinator presents a yearly assessment summary report to the faculty
for review and discussion. Faculty and area committees use the report to inform and
enhance curriculum and the teacher-learning process.
Undergraduate Mid-Career Assessment Plan, pg. 2
Revised Formats and Procedures:
Mid-Career Assessment Student Report / Faculty Report
See belowCourse Prerequisites and Co requisites
See below
Student Handbook
See below
Assessment Cycle
See below
Third Semester Jury Reports
Each area maintains unique format but all areas must include rotational sight-reading
on principal instrument.
Student Handbook Appendix B
Undergraduate Mid-Career Assessment
All native and transfer students having completed three semesters of coursework in the
music major will be reviewed for satisfactory progress in the following areas:
45
1) Cumulative GPA
2) transfer exams (where applicable)
3) third-semester applied juries
4) three consecutive semesters of:
a) Applied Instrument / Third Semester Applied Jury
b) Theory / Aural Skills
c) Class Piano
d) Listening (MUS 100 and MUS 190)
Students not making satisfactory progress by achieving a “C” or better in the above areas
will not be allowed to enroll in upper-division classes and should seek counsel from their
assigned academic advisor.
Third-Semester Applied Jury
Music majors will perform a third semester repertoire and sight-reading applied jury in
which they will be evaluated on progress in basic musicianship skills germane to the
individual discipline. Students must receive a ‘C’ or better to pass the third-semester
jury in order to enroll in upper-division applied study.
Transfer Exams
All transfer music majors are required to be evaluated in the following areas during the
first class day of their first semester enrolled at WIU.
Prior Coursework:
Provide copies of transcripts
Skill Exams:
Theory / Aural Skills
History
Piano
Graduate Assessment
See Coordinator of Graduate Studies for information
comprehensive exams, required capstone projects, etc.)
on
placement
exams,
Assessment Cycle
Summer Break
Assessment Coordinator (AC) contacts transfer students regarding
evaluations, contact faculty to schedule/prepare evaluations.
Fall 1st day of class
AC coordinates transfer evaluations with Theory, Piano, and History.
Collect results for database.
Fall September Week 1
AC submits summary of previous academic year assessment to faculty
for -review, discussion, curriculum enhancement, etc.
Fall November Week 1
AC requests from faculty 3rd semester sophomores and transfers to be
tested in applied jury. Collect copy of each type of jury template,
check for sight-reading as component.
Winter Break
AC creates assessment data report for advisors after Fall grades post
to MVS.
Spring 1st day of class
AC distributes assessment data reports and individual report forms to
advisors.
46
Spring February Week 1 AC reminds advisors to complete individual consultations and reports.
Spring March Week 1
Advisors submit completed and signed reports to Assessment Coordinator
who reviews and sends to student file.
Spring April Week 1
AC creates summary of assessment data and submits to Undergraduate
and Graduate Studies Committees for analysis and program review.
Spring May Week 1
AC submits final assessment report to Director. Include sight-reading
templates.
Undergraduate Mid-Career Assessment Report
Fall 2015
Date: ______________
Student:
Assigned Academic Advisor: ______________
47
Student Signature: ___________________
Advisor Signature: ________________________
METHOD: Basic music skills courses, 3rd semester juries, and transfer placement exams are reviewed to
indicate student progress in the degree program and potential success in upper-division coursework.
Students not progressing with "C" in all categories below may be counseled for remediation or to
change their major.
SECTIONS REVIEWED
1 - Applied Grades, 3rd Semester Jury and Sight-Reading
2 - Theory & Aural Skills Grades/Transfer Placement
3 - Piano Grades/Transfer Placement
4 - History (MUS 190) Grade/Transfer Placement
KEYS
Admission Type
1 - freshman
2 - visiting student
3 - transfer undergraduate
4 – open admission
5- re-enter WIU undergrad
STATUS
Satisfactory
Unsatisfactory
ADM
TYPE
6
7
8
9
CLASS
Class
1 - Freshman
2 - Sophomore
3 - Junior
4 - Senior
– re-enter WIU new start
– graduate re-entry
– graduate new
– non-degree freshman/special
high school
PROG
INST.
GPA
Notes:
CUM.
GRADES & EVALUATION
1 - Applied Grades, 3rd Semester Jury and Sight-Reading
SEM 1
SEM 2
SEM 3
JURY 3
Notes:
SIGHT-READ
2 - Theory Grades/Transfer Placement
080
181
(Theory I)
183
(Aural
Skills I)
182
184
(Theory II) (Aural
Skills II)
281
(Theory
III )
283
(Aural
Skills III)
282
(Theory
IV)
284
(Aural
Skills IV)
Notes:
3 - Piano Grades/Transfer Placement
065
Remedial
Piano
165
(Class
Piano I)
166
(Class
Piano II)
48
265
(Class Piano
III)
266
(Class Piano
IV)
Notes:
4- History (MUS 190) Grade/Transfer Placement
Notes:
190
What to Listen for in Music
SCHOOL OF MUSIC
Prerequisites and Corequisites
Applied Study
Prerequisite: audition and written consent of music advisor. Music majors receiving a grade of D or F
in applied study on their principal instrument must reaudition for departmental, acceptance.
49
Enrollment in upper division courses (400 level) requires a C or better on the third-semester principal
instrument applied jury including sightreading. After a student passes the principal instrument thirdsemester jury, applied study in the principal instrument from the fifth through the eighth semester
will receive upper division credit.
Mus 166 Piano II
Prerequisite: C or better in Mus 165 or equivalent.
Mus 265 Piano III
Prerequisite: C or better in Mus 166 or equivalent.
Mus 266 Piano IV
Prerequisite: C or better in Mus 265 or equivalent.
Mus 300 Student Teaching Review
Prerequisite: for instrumental-general majors: C or better in Mus 166;
for choral-general specialization: C or better in Mus 266; C or better in Mus
282, and C or better in Mus 284. Graded S/U only.
Mus 330 Conducting
Prerequisite: Mus 282, and Mus 284.
Mus 331 Choral Conducting
Prerequisite: C or better in Mus 330.
Mus 332 Instrumental Conducting
Prerequisite: C or better in Mus 330.
Mus 333 General Music in the Elementary/Middle School
Prerequisite: Mus 166, Mus 182, Mus 184; for choral-general specialization
only: Mus 231-232 or consent of instructor; Eng 180 and 280.
Mus 334 Music for the Exceptional child
Prerequisite: Mus 166, Mus 182, Mus 184; Eng 180 and 280; junior/senior
standing or consent of instructor.
Mus 335 Choral Methods
Prerequisites: C or better in Mus 330.
Mus 336 Instrumental Methods
Prerequisite: Mus 166, Mus 182, Mus 184; Eng 180 and 280; instrumental
techniques courses or equivalent background.
Mus 337 Jazz Band Methods and Techniques
Prerequisite: Mus 166, Mus 182, Mus 184.
Mus 351 Basic Arranging
Prerequisite: Mus 166, 282, Mus 284.
Mus 367 Jazz Improvisation II
Prerequisite: Mus 166, Mus 182, Mus 184, Mus 267.
Mus 381 Analysis I
Prerequisite: Mus 166, Mus 282, Mus 284; Eng 180 and 280.
50
Mus 387 Jazz Arranging and Composition I
Prerequisite: Mus 166, Mus 182, Mus 184, Mus 187.
Mus 390 European Art Mus I
Prerequisite: Mus 166, Mus 182, Mus 184, C or better in Mus 190; Eng 180 and
280.
Mus 391 European Art Mus II
Prerequisite: majors: Mus 390; minors: consent of the instructor.
Mus 396 Choral Literature
Prerequisite: Mus 166, Mus 182 and 184, Mus 232, Mus 262,
Mus 263.
Mus 430 Marching Band Techniques
Prerequisite: Mus 116, Mus 265, Mus 281, Mus 283.
Mus 439 Music Teaching in the Secondary Schools
Prerequisite: Mus 166, Mus 282 and 284, Mus 330, Eis 201 and 301.
Mus 453, 454 Influences of Music on Behavior
Prerequisite: Mus 166, Mus 182, Mus 184; Mus 251, 252, 253, junior standing or
consent of instructor, in succession.
Mus 455, 456 Music Therapy Principles and Practices
Prerequisite: Mus 166, Mus 182, Mus 184; senior music therapy major or
consent of instructor, in succession.
Mus 465, 466 Piano Pedagogy
Prerequisite: Mus 182, Mus 184; Eng 180 and 280; Psy 100 and 221; Piano
principal or consent of instructor, in succession.
Mus 481 Counterpoint
Prerequisite: Mus 166, Mus 282, Mus 284.
Mus 482 Materials of 20th Century Music
Prerequisite: Mus 166, Mus 282, Mus 284.
Mus 483 Orchestration
Prerequisite: Mus 166, Mus 282, Mus 284.
Mus 485 Techniques of Electronic Music
Prerequisite: Mus 166, Mus 182, Mus 184.
Mus 495, 496 Piano Literature
Prerequisite: Mus 182, Mus 184; Eng 180 and 280; piano principal or consent of
instructor.
Mus 487 Jazz Arranging and Composition
Prerequisite: Mus 387, Mus 482, or consent of instructor.
Mus 493, 494 Organ Literature
Prerequisite: Eng 180 and 280; organ principal or consent of instructor.
Mus 497 Jazz History, Selected Topics
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Prerequisite: Mus 166, Mus 182, Mus 184, Mus 397; consent of instructor.
10.4 – EXIT/GRADUATION LEVEL ASSESSMENT
Each program option in music includes a capstone activity that requires the student to
integrate all areas of study; assesses accomplishment; and predicts success in the field:

Music Education Option: Student Teaching and K-12 State Certification Exams

Music Therapy Option: Six-month Clinical Internship and examination for National
Registration as a Music Therapist

Music Business Option: One-semester Internship with a music business firm

Applied Music Option: Senior Recital Performance or Composition Portfolio
All graduating seniors are asked to complete and return a Senior Satisfaction Survey in an
attempt to determine perceived strengths and weaknesses in the music major program.
10.5 – ALUMNI ASSESSMENT
The alumni survey follows guidelines recommended by the National Association of Schools of
Music and is sent to all graduates in their third year following graduation.
11.0 – SCHEDULING CONCERTS AND OTHER EVENTS
11.1 – SCHEDULING / SCHEDULING CONFLICTS
The School of Music faculty has endorsed a policy (4-24-98) that prohibits the scheduling of
more than one concert or recital on the same date at the same time. This includes calendar
conflicts with events on the Bureau of Cultural affairs schedule. Concerts and special events
on campus as well as off-campus concerts and tours are scheduled through Joanie Herbert. If
the event is other than routine, the Director should be consulted. Effective 2/03/05, no
concerts or recitals shall be scheduled during final exam week or the Sunday prior to exam
week.
11.2 - SCHEDULING PERFORMANCES
COFAC Recital Hall
All performances, rehearsals, special events, studios, recording sessions, etc., in this venue
must be scheduled and coordinated through Joanie Herbert, Recital Hall Manager.
University Union / Other Performance Venues
Performances to be held in the University Union, other buildings on campus, or in area
churches, must be arranged by the hosting School of Music faculty member (who is also
responsible for all other arrangements related to the site and performance). Any school of
Music performance held in a location other than the COFAC Recital Hall must be scheduled
with Joanie Herbert and confirmed on the School of Music Master Calendar before facility
arrangements are made elsewhere.
Convocations and Student Showcase Recitals
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Student convocations, including Student Showcase Recitals, are held at 2:00 p.m. on Tuesdays
in the COFAC Recital Hall. Lessons, rehearsals, or meetings must not be scheduled during this
time.
There will be two Student Showcase Recitals per semester. Nomination forms shall be placed
in faculty mailboxes early in each semester and also sent by e-mail attachment. Applied
teachers who wish to nominate students to perform should place completed and signed forms
in the Convocation Committee convener’s mailbox by the stated deadline. Complete program
information should be submitted to Joanie Herbert no later than Thursday noon preceding
the convocation date. Program information should be submitted in legible form. Each area
will receive the following approximate breakdown of minutes, per semester, for Showcase
Convocations is as follows: vocal area – 25 minutes; wind, brass, and percussion areas – 45
minutes; keyboard area – 10 minutes; string area – 10 minutes. Each convocation should not
exceed a total of 45 minutes each.
Ensemble Concerts
General scheduling for each academic year shall begin in the preceding spring semester.
Before the calendar opens for general scheduling, the Recital Hall Manager will coordinate a
scheduling meeting to be held with the ensemble directors towards the end of the fall
semester. All special events, tours and field trips, and large ensemble concerts shall be
confirmed on the calendar at this time. After publishing the initial calendar, secondary
ensembles, faculty ensembles, solo faculty, faculty guest recitals, and BCA events can be
scheduled. Several days and times will be blocked and reserved for student recital scheduling
which will take place during the second week of the fall semester (See Section 11.4 – Student
Recitals).
Forms
At the beginning of each semester, faculty members who have scheduled an event on the
music calendar will receive the pertinent forms via email from the Recital Hall Manager,
including a Recording Request Form. A WESTEC Request for Service Form is also available, if
needed. On the Recording Request form will be posted a three (3) week forms deadline. The
Recording Request Form is due back in the Recital Hall Office by this deadline, with
appropriate information filled out and signatures obtained. Program and press information
must also be submitted by this date.
All calendar information is available online to School of Music faculty and staff through
Zimbra’s shared calendar. Contact Joanie Herbert at 298-1843 to request access to the
Recital Hall calendar through Zimbra.
11.3 – School of Music Calendar Scheduling Order
Each year after the directors’ scheduling meeting is announced, School of Music event
scheduling is prioritized in this order:
Director’s Scheduling Meeting at the end of fall semester:
1. All Special Events, including: Scholarship Concert, Marching Band Classic, annual
Choral Workshops held in the fall, Orchestra Halloween Concert, IMEA District IV
Music Festival (WIU), Holiday Festival of choirs, Madrigal Dinners (every other year),
IMEA All-State Music Festival (Peoria), Jazz Festival, Showcase of Bands, New Music
Festival, Opera Theatre and any conferences hosted by the WIU School of Music.
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2. Large Ensemble Concerts, Tours, and Area Festivals: Wind Ensemble, Concert Band,
Orchestra, University Singers, Concert Choir, JSO, Jazz Bands, Brass Festival, Horn
Festival, Jazz Rhythm Festival, Piano Festival
3. Secondary Ensemble Concerts, including : Vocal Jazz, Percussion Ensemble, Steel
Band, Brass Ensemble, Chamber Winds, Chamber Orchestra
4. Auditions
Faculty and BCA Scheduling: January – March, 2016:
5. Faculty Chamber Ensembles (Camerata Woodwind Quintet, Lamoine Brass Quintet,
Hopper Jazztet, etc.)
6. BCA events, including the Faculty Chamber Series
7. Faculty Solo Recitals
8. Faculty Guest Recitals
9. Studio Recitals
General School of Music and Guest Scheduling: After March, 2016
Guest Scheduling is subject to the Guest Rental Information and Scheduling Guidelines (2015 –
2016) which can be obtained by contacting Joanie Herbert.
10. Students who are pre-authorized by their professor to perform during the first six
weeks of the fall semester may schedule in the preceding spring semester. All other
students will wait until the Fall Student Recital Scheduling Days.
11. School of Music Student Organizations (Mu Phi Epsilon, Phi Mu Alpha, MTNA, etc.)
12. Outside guest events as approved by the Director of the School of Music Fall Semester
13. The Calendar is open for Student Recital Scheduling the second week of school
during the fall semester. All student recitals for the academic year shall be scheduled
during these days in a prioritized manner according to major and seniority. (See 11.4
Scheduling Student Recitals).
11.4 – STUDENT RECITALS –
Scheduling Student Recitals
The calendar is open for student recital scheduling during the second week of school in the
fall semester. Students will be scheduled in a prioritized manner on designated days. All
student recitals must be confirmed on the calendar by Friday, September 25, 2015.

Student recitals are allowed a maximum duration of 90 minutes.

Full stand-alone solo recitals required for a degree in performance may be
scheduled for graduate students and seniors. All other performance majors will
schedule combined recitals.

Students outside of upper level performance major status will schedule
combined recitals. Combined recitals consist of two or more students giving two
½ duration stand-alone performances or a complete duration combined
performance. One program will be made.

All student recitals are scheduled with a tentative status pending the outcome of
a pre-recital hearing.
Students shall follow this order for scheduling:
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Monday/Tuesday – 8/31/15 - 9/1/15: Grad and Sr. Performance majors
Wednesday/Thursday – 9/2/15 - 9/3/15: Grad and Sr. Non-performance majors
Friday 9/4/15 through Friday 9/25/15: Jr. majors and all other students or student
groups
Recitals to be confirmed by Friday, September 25, 2015.
Scheduling hours during these days are:
Monday through Friday - 8:30 – 12:00 a.m. and 1:00 – 4:00 p.m.
(and by appointment if class schedule conflicts)
Exceptions are made for those students pre-authorized by their professor to perform during
the first six weeks of the fall semester. These students may sign up during an authorized
period the previous spring semester (See 11.3 School of Music Calendar Scheduling Order).
Scheduling dates and open Recital Hall Office times for student scheduling shall be posted in
Browne Hall, sent by e-mail, and placed in faculty mailboxes at the beginning of the fall
semester. Students may not schedule recitals by phone or e-mail, but must come in to the
Recital Hall Office during designated scheduling hours.
Recital Pre-Authorization
Students must bring a “Recital Pre-Authorization Form” when they come to schedule their
recital. No reservation will be made by Joanie without required faculty signatures on this
form. These forms can be obtained from the Music Office, the Recital Hall Office (SI 505), or
requested by e-mail at JE-Herbert@wiu.edu. Copies of the preauthorization forms will also be
placed in faculty mailboxes and sent by e-mail at the beginning of the fall semester.
On the “Recital Pre-Authorization Form”, three choices of dates/times can be selected in
order of preference. The performance calendar will be available online to all students at
www.wiu.edu/recitalhall . The School of Music master calendar will also be posted on
Joanie’s door and in Browne Hall lobby. During recital scheduling, daily updates to the
calendar will be posted. Students should not e-mail and ask for a listing of available times for
scheduling their recitals. It is each student’s responsibility to stay apprised of the posted
calendar and confirm with their applied teacher the date/time choices before coming in on
their scheduling day.
If a student cannot come in during posted times, they may make an appointment.
Effective 2006-2007, only graduate students and seniors may schedule solo recitals. Juniors
and all others may schedule combined recitals. Student recitals can total no more than 90
minutes of music.
Student Recital Forms
Once a student recital has been officially scheduled, a date/time confirmation and a forms
return deadline will be sent to the student and professor by e-mail. A notice will also be sent
to the piano accompaniment area coordinator. A second e-mail notice will be sent out to all
students with forms packets attached.
The student recital forms packet includes 4 forms: (1) Student Recital Preparation Checklist
and Set Up Requests, (2) Recording Request Form, (3) Recital Approval (Hearing) Form, and
(4) Sample of the format for how to submit program material.
The “forms return” three-week deadline will be posted on the packet. All forms must be
filled out, appropriate signatures obtained, and a recital hearing completed by the “forms
return” deadline. Complete program information is also due by this date. If a form is lost or
misplaced, the student should contact Joanie for another set.
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Pre-Recital Hearings
A pre-recital hearing must be held for each student no less than four weeks prior to the
scheduled performance. Each area determines the composition of its hearing committee. The
members of the area hearing the pre-recital performance must at that time approve the
performance by signing the Recital Approval Form. The area chairperson and one other
member of the member of the area must sign such approval. The student recitalist should be
prepared to perform 15-20 minutes of pre-determined music at performance level with
accompanist at this hearing. Other works may be asked to be performed at that time. The
area hearing the pre-recital will select which pieces or movements they wish to hear in
addition to the piece(s) performed with accompanist. The Recital Approval Form must be
completely filled out with appropriate signatures obtained before submitting to the Recital
Hall Office. If the form is incomplete, it will be returned to the student’s applied faculty
member and the recital will remain in a tentative status until the completed form is
returned.
Publicity for Student Recitals
If completed recital program information is returned by the three-week deadline, the
student’s program will be uploaded on the Recital Hall Web site and sent out on a weekly
event list to the departmental publicity listserv. If information is not received by the
deadline, these publicity services are not guaranteed.
Canceling Student Recitals
Once a recital has been confirmed on the School of Music calendar and the Recital Hall is
reserved, a student may cancel a recital only for reasons of ill health or other reasonable
emergencies. The feeling of being unprepared for failure to secure an accompanist shall not
be considered adequate cause for cancellation. If a student cancels a recital for reasons other
than an emergency, he/she must petition the Music Advisory Council for an exception to the
policy. Students canceling a recital in violation of the above policy must forego the privilege
of playing a recital until one year from the date of the previously scheduled performance. If a
non-emergency cancellation occurs within one week of a Recital Hall reservation, a $75 fine
will be imposed.
11.5 – ASSIGNMENT OF ACCOMPANISTS
Please refer to Appendix V – Staff Accompanist Guidelines for current policies and procedures
related to the assignment of School of Music accompanying resources.
11.6 – PROCEDURES AFTER SCHEDULING A CONCERT OR RECITAL
Programs
Program information should be submitted in electronic format, using Microsoft Word, to
Joanie Herbert by the three-week forms return deadline. Required program information is
stated in the Checklist Form. If difficulty occurs in sending any information in electronic
format, please notify Joanie Herbert.
Publicity
Publicity for events scheduled to take place in the Recital Hall must be submitted to the
Recital hall Manager in electronic format by the three-week deadline, using Microsoft Word.
Program information is sufficient for publicity. In the case of a guest recital, the guest
biography, photo, and/or Web site address should be included.
The Recital Hall manager will place this information on the Recital Hall Web site and the
University School of Music Web Calendar. Program information will also be sent out in a
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weekly event listing to the departmental listserv. If information is not sent by the deadline,
these publicity services are not guaranteed.
For special events, press information should include all information listed in the checklist
form: program information, complete ticket and box office information, tour locations,
publicity photos and other items of interest related to the event.
Developing print advertising, such as brochures, posters, and newspaper ads, are not a
service of the Recital Hall Office. Simple fliers can be assembled for faculty recitals by
request on a case-by-case basis if there is sufficient time and student help. However, any
brochures, fliers, or posters containing any publicity information concerning an event
scheduled in the Recital Hall, mailed to any mailing list or distributed across the campus or to
the public must be also sent simultaneously to the Recital Hall Manager.
Recording
In order to secure audio recording services, a Recording Request Form must be submitted for
all School of Music performances, including major music ensembles, faculty chamber
ensembles, faculty recitals, and graduate and undergraduate recitals. These forms are
available from Joanie Herbert and must be submitted by the three-week forms return
deadline. Technicians and equipment will be assigned by the recording area on a “first-come,
first-served” basis, unless the performance demands of a major ensemble or faculty
performance require special equipment.
There are no fees assessed for technicians for music ensembles, faculty chamber ensembles
or faculty recitals for the initial recording materials (i.e. CDs). Any ancillary recording
services such as multiple copies and editing are also available on a “first-come, first-served”
basis, but the faculty, graduate, and undergraduate recitalists must pay the technician’s
fees.
Any questions regarding recording forms should be addressed to Joanie Herbert. Questions
concerning technicians, equipment, and recording fees should be directed to Terry
Solomonson.
Stage Setup
For all events except large ensembles and solo ensembles, a diagram of desired stage set up
should be attached to the Event Scheduling form and returned by the forms deadline. The
sketch should include what is expected to be used in the Recital Hall during the performance:
chairs, stands, podium, risers, piano, etc., with set changes listed in program order and
labeled by the music titles. A copy will be given to the scheduled stage crew worker(s) and
posted back stage during the performance.
Performances that require heavy equipment being moved to the Recital Hall (such as the
harpsichord) require the filing of a Service Request with Physical Plant at least two weeks in
advance so that the moving can be accomplished. Equipment moves for performances in the
Union must be coordinated with Physical Plant and the Union, and supervised by music
personnel at both departure and receiving plants.
Joanie Herbert should be notified and be sent copies of service requests of all equipment
moving plans for events scheduled in the Recital Hall. The person in charge of the
performance is responsible for arranging for the return of all equipment to its original
place immediately following the performance, or before 8:00 a.m. the next morning.
11.7 – SUBMISSION OF RECORDINGS TO THE MUSIC LIBRARY
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NASM requires that recordings of all required student recitals be archived in the Music
Library. Faculty submitting those recordings and/or faculty recital or ensemble recordings to
the Music Library are asked to label each one clearly in pen or typed to include: name of
performer or ensemble; date of performance; number of recordings if the performance
required more than one.
11.8 – SCHOOL OF MUSIC CALENDAR SCHEDULING ORDER
Spring Semester
1. Special Events: New Music Festival, Jazz Festival, Showcase of Bands, Auditions, IMEA
District IV Music Festival, Conferences hosted by WIU School of Music, Madrigal Dinner,
Marching Band Classic, IMEA District IV All-State Choral Workshop.
2. Ensemble Concerts and Tours: Wind Ensemble, Concert Band, Orchestra, University
Singers, Concert Choir, Madrigal Singers, Opera Workshop, JSO, Jazz Bands, Vocal Jazz,
Percussion Ensemble, Steel Band, Brass Ensemble.
3. Faculty Chamber Ensembles: Camerata Quintet, Julstrom Quartet, and Lamoine Brass
Quintet, WIU Hopper Jazztet
4. BCA Events including the Faculty Chamber Series
5. Faculty Solo Recitals
6. Faculty Guest Recitals
7. Studio Recitals
8. School of Music field trips
9. Preparatory Division Recitals
10. Students wishing to perform during the first six weeks of the fall semester
11. Student Organizations
12. Outside Guest events as approved by the Director of the School of Music
Fall Semester
The calendar is open for student sign-up the second week of school during the fall semester.
(See 11.4 Scheduling Student Recitals).
12.0 – PRE-COLLEGE MUSIC PROGRAMS –
The Preparatory Department was disbanded in the 2003-2004 Academic Year. A faculty task force
studied the feasibility of reinstating such a program and what specific curricular connections
should exist if it is reinstated. The program was not reinstated.
12.1 – PURPOSE



To provide a laboratory of pre-college pupils to support observation and student
teaching experiences for university students enrolled in pedagogy programs.
To support, through pupil tuition, the offering of graduate assistantships beyond those
allocated to the School of Music.
To provide a model of excellence for in-service teachers in the west-central region of
the state.
Tangentially, these programs also provide a public service to the Macomb region when
qualified teachers are not available in the community. School of Music programs should not
compete with independent teachers, but rather encourage and support the establishment of
enough qualified teachers to fill the needs of the community.
12.2 – DUTIES OF DIRECTORS
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








Coordinate the curriculum and select core teaching materials to be used
Determine program operating policies and communicate same to teachers/parents
Initiate, annually, paperwork for reappointment of staff and graduate assistant teachers
Recruit, test, and schedule pupils for lessons and classes
Assign teaching duties to staff teachers and graduate assistants
Design, print, and distribute the annual program calendar
Determine, collect, and deposit tuition fees, keeping accurate financial records
Plan and schedule recitals and other special events
Supervise the keeping of accurate and complete pupil records
12.3 – OPERATING POLICY
One full-time “permanent” staff person for teaching pre-college level pupils may be reappointed as a temporary employee annually. This person is essentially an independent
studio teacher given the privilege of using state facilities in exchange for allowing WIU
students to observe and practice teach.
Other tuition income should be made available for Graduate Assistantships or for qualified
undergraduate student teachers. Program size should be limited to teaching staff (one
permanent plus Graduate Assistants or student teachers) available. Any deviation from this
must have approval of the School of Music Director before teaching is offered to additional
non-WIU students or faculty. Additional staff teachers, if approved, should not earn in excess
of $9,000 per year.
Assignment and evaluation of pre-college teaching staff is the responsibility of the Director of
the program. Assignment of the Director is the responsibility of the School of Music Director
and evaluation of the Director is the responsibility of the School of Music Director and the
Music Personnel Committee.
WIU faculty member teaching and director duties beyond those listed above should be
compensated through tuition fees received. Paperwork supporting “Extra Compensation”
salary should be presented to the School of Music Director.
Graduate Assistantships in pre-college teaching may be offered to the extent that they can be
supported by tuition income. All recommendations for graduate assistantships should be
made to the Graduate Advisor. A full graduate assistant may be assigned 15 hours of work
per week, part of which may be deemed teaching-preparation time.
Qualified undergraduate student teachers may be compensated as “Student Help” for
teaching done that is in addition to or apart from assignments for which they are being
granted university credit. All such Student Help must be funded by the pre-college program
budget. Recommendations for student teachers should be made to the Music Office so that
the appropriate paperwork is completed.
Student teachers should not receive compensation for teaching that is done as a pedagogy
class or practicum assignment for which they are earning university credit. WIU faculty
should not receive compensation for teaching done as demonstration that is included in a
pedagogy load assignment.
To insure that enrollments are sufficient to cover faculty, staff, graduate assistant, and
student help contracts, make an initial request that is conservative and then, after the
beginning of the semester (when enrollments are stabilized) request supplemental salary to
cover the difference between the minimum contract and any teaching done in excess of the
minimum contract. Remember that contracts can be issued for one semester at a time to
better guarantee the availability of sufficient funds.
59
Tuition is deposited in the Fine Arts Public Service Account in the Dean’s Office. Since
instructors who are under contract are paid from this account, tuition deposits must be
sufficient to cover monthly payroll. It is the Director’s duty to keep the accurate financial
records needed to support payroll and other expenses.
Balance of income after paying teacher salaries may be used to support the program
operating expenses including purchase of equipment, music, teaching materials, office
supplies, teacher training and development expenses, printing and advertising costs, and
miscellaneous expenses. All purchases and other financial transactions must follow WIU
Business Office procedures. Prepare Direct Pay Authorizations or Purchase Requests and
present them to the College of Fine Arts secretary for processing.
Minimal and occasional use of the School of Music office supplies, copy service, telephone and
postage service is allowed. Large mailings and/or extensive long-distance telephoning must
be funded from the program budget. The Director should furnish the School of Music Director
budget projections for the following year at the time requests for teacher contracts are
submitted, and income/expense summaries at the close of each fiscal year.
Classes and lessons given as part of the program should normally be open and available for
observation by WIU students, staff, and regional teachers.
13.0 – GRANTS
13.1 – OUTSIDE SOURCES
Sources outside of School of Music operating budget should be energetically and
systematically explored. The WIU Office of Sponsored Projects is there to help faculty
determine sources and guide proposal writing for off-campus grants. Reminders of deadlines
and copies of guidelines are furnished periodically by the Music Office. Music faculty
members have enjoyed good success when making application for the on-campus programs
listed below. Catherine Null is the contact in the College for grants information and is
available to assist faculty in the application process.
13.2 – VISITING LECTURE REQUESTS
These Grants, available through Student Activity Programs, help fund bringing guest artists to
campus. Because of budget constraints, only one request will be funded from an organization
or department per semester (not to exceed $400). A number of student organizations in the
School of Music have served as sponsoring organizations.
13.3 – WIU FOUNDATION FACULTY DEVELOPMENT GRANTS
The coordinated grant proposals fund special projects related to instruction. Guidelines are
issued annually with deadlines usually in October and February. WIU Foundation Funding
Priorities are:
1. Proposals designed to have a positive effect in the area of enrollment.
2. Proposals designed either to increase academic standards, or maintain quality
standards;
3. Proposals designed to support the improvement of instruction, and
4. Proposals designed to support meritorious research that impacts positively upon
several areas of the University.
13.4 – PROFESSIONAL TRAVEL GRANTS
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Special funds in the Provost Office may be requested to support professional faculty travel
beyond funds available through the School of Music budget.
http://www.wiu.edu/CITR/fac_travel/
13.5 – FACULTY RESEARCH GRANTS
University Research Council support is intended to promote research or its scholarly
equivalent in appropriate fields by providing “seed” money for the initiation of new projects.
The URC should not be viewed as a funding source for research projects that are one-time
only, ongoing, or in their final stages. Priority will be given to those proposals which are
likely to result in external funding and publication in peer-refereed journals, exhibitions, or
performances. Some emphasis is given to assisting new faculty in beginning their research
activities. Applications are usually due in early October and March.
13.6 – SUMMER STIPENDS
The WIU Foundation, in conjunction with the Faculty Development Office and the University
Office of Sponsored Projects, awards up to five summer stipends in the amount of $3,000 each
for summer. These grants provide opportunities for faculty to engage in projects leading to the
enhancement of the individual faculty member in the areas of teaching, research, and creative
activity. While teaching, research, and creative activities are expected of every faculty
member, the summer stipend is intended to allow faculty to pursue projects well beyond those
which can normally be pursued during the academic year. Proposals are encouraged in a wide
range of categories including, but not limited to, the following:
 Research leading to publication or research required to prepare applications to external
granting agencies
 Development of a significant curriculum proposal
 Creation of work leading to a performance or exhibition
 Mastery of a new instructional technique
13.7 – PERFORMING ARTS SOCIETY GRANTS
PERFORMING ARTS SOCIETY ACADEMIC SUPPORT PROGRAMS
General Information
The purpose of this organization shall be to assist College of Fine Arts and Communication in the
raising of funds to support arts programming through the Youth Performing Arts Series, the
Bureau of Cultural Affairs, the Faculty Recital Series, and other programming centered around
the arts at Western Illinois University. The Performing Arts Society will provide structural
support for the Performing Arts Center and its programs. Activities shall include community and
audience development, fund-raising, providing a social atmosphere for cultural activities and
increasing the public awareness of the need and value of the performing arts. (PAS Bylaws)
In keeping with the mission of the Performing Arts Society an Academic Support Program (PASASP)
has been established to support academic programs, projects and/or events that enhance the arts
at Western Illinois University.
Eligibility
1) Applicants can only be faculty or staff from the College of Fine Arts and Communication.
2) Awarded applications are those that benefit students and/or the community and are tied
to an academic program
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3) Awarded applications are those that promote excellence in the performing and visual
arts, providing a social atmosphere for cultural activities and increasing the public
awareness of the need and value of the arts.
4) A report on the use of funding and the benefits to the program are required upon
completion.
5) Funding cannot be used to pay travel and stipends to WIU employees
6) Special consideration will be given to those proposals that include matching funds from
department, college, university, or some other entity.
7) All facets of the application must be completed to be eligible for consideration.
Required Items and Attachments
Applications must include the following:
1) Statement regarding description and justification for the request.
2) Detailed description of how the request benefits the program, unit and/or students,
and/or community.
3) Detailed description of how the request meets the goals of the academic unit and/or the
strategic plan of the university
4) Description of how the request might benefit the mission and goals of the Performing Arts
Society.
5) Attached budget with a narrative explanation of each budget item and its purpose.
6) Submit both electronic and hard copies of the application to the Dean’s office by the
deadline. PAS Academic Support Program Proposal Review Committee. The purpose of the
committee is to review funding proposals from college entities and make
recommendations to the PAS Board of Directors for approval. This committee shall be a
standing committee of PAS. The committee will be comprised of five members elected
from the PAS Board of Directors. The vice President of PAS shall serve as the chair of the
committee and as liaison to the Executive Committee. The committee shall recommend to
the PAS Board of Directors each year an annual amount of funding to be allocated under
the program. Applications for funding will be awarded to programs that meet all criteria,
submit a complete application, and are positively reviewed by the committee. All
proposals are subject to review and approval by the PAS Board of Directors. Awards from
the PASASP will not exceed $8,000 annually and can be renewed for one year. For an
award to be renewed, grantee must submit an interim report addressing how the funds
were used and what benefits were derived. The board may then vote on a motion to
renew the award for an additional year. Deadline Applications must be received by the
Dean’s office on or before February 1st of each year to be eligible for the following
academic year.
Approved: October 3, 2006
Updated: 8/ 2012
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Performing Arts Society Academic Support Program
Application
Name _______________________________________________ Date________________
Name of Organization/Affiliation
______________________________________________
Email _____________________________________Phone Number ___________________
Please review the Academic Support Program guidelines and answer the following
questions.
Description of the request/project:
Description of how the request will benefit the program, students, and/or community
and the goals
of the academic unit or strategic plan of the university:
Description of how the request will meet the mission and goals of the Performing Arts
Society:
Attach a detailed budget with an explanation of each budget item and its purpose, to
include:
Amount requested ______________
Contractual ______________
Equipment ______________
Other ______________
Submit electronic and hard copies of the application to the dean’s office by February
1, 2014.
Approved: October 3, 2006
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14.0 – PROFESSIONAL STATUS
14.1 – RETENTION, TENURE, AND PROMOTION
Matters relating to retention, tenure, and promotion are detailed in the Faculty Agreement:
2007-2011 between the University Professionals of Illinois Local 4100 and the Western Illinois
University Board of Trustees. School of Music Evaluation Criteria can be found as Appendix
III.
14.2 – DEPARTMENT PROCEDURES
Please see Appendix III for procedures, schedule, and other details related to promotion,
retention, and tenure.
Two entities provide evaluation at the School of Music level: The Music Personnel Committee
(MPC) reviews all files for promotion, retention, and tenure, and provides a written
evaluation/recommendation. This group is elected by all bargaining unit faculty in the School
of Music. The School of Music Director also provides a written evaluation/recommendation.
See Appendix III for details.
Formal recommendations from each level of evaluation are placed in each faculty member’s
Official Personnel File in the Provost’s Office. Eventually, application materials are returned
to the applicant.
14.3 – PERSONNEL FILES
Working files for music faculty are maintained in the Music Office. Official Personnel files are
kept in the Provost’s Office. If you wish to have anything placed in your file you should
submit it to the School of Music Director and also directly to the Provost’s Office (indicate
Personnel File) as appropriate.
15.0 Musicians Health and Safety
Musician Health and Safety
The following resources contain best practices related to health and safety in musical settings. These
are links to research-based strategies for maintaining personal health and safety within the contexts of
practice, performance, teaching, and listening. Students, faculty, and staff are encouraged to
supplement the resources below with professional information that is specific to their particular areas
of music activity.
Protecting Your Hearing Health




NASM-PAMA Student Information Sheet on Noise-Induced Hearing Loss (pdf)
OSHA: Noise/Hearing Conservation
Hearing Loss Decibel Levels
Noises and Hearing Loss
Musculoskeletal Health and Injury


The Role of Rest, by Ralph A. Manchester (pdf)
A Painful Melody: Repetitive Strain Injury Among Musicians, by Tamara Mitchell (pdf)
64


Repetitive Stress and Strain Injuries: Preventive Exercises for the Musician, by Gail A. Shafer-Crane
(pdf)
MusiciansHealth.com
Psychological Health



Performance Anxiety (WebMD)
Conquering performance anxiety from inside out, by Helen Spielman (pdf)
A Soprano on Her Head: Right-Side-Up Reflections on Life and Other Performances, by Eloise Ristad
Equipment and Technology Safety


Students working in the COFAC Recital Hall must complete a training session on how to safely move
the grand pianos on stage. Contact Joanie Herbert for information.
Students working as audio/recording technicians must complete a training session on how to safely
use the sound system and recording equipment. Contact Terry Solomonson for information.
NOTE: It is important to note that health and safety depend largely on personal decisions made by
informed individuals. WIU has health and safety responsibilities, but fulfillment of these responsibilities
cannot and will not ensure any individual's health and safety. Too many factors beyond WIU's control are
involved. Each individual is personally responsible for avoiding risk and preventing injuries to themselves
before, during, and after study or employment in WIU School of Music. The policies, protocols, and
operational procedures developed by the School of Music do not alter or cancel any individual's personal
responsibility, or in any way shift personal responsibility for the results of any individual's personal
decisions or actions in any instance or over time to the University.
65
APPENDIX I
SCHOOL OF MUSIC WORKLOAD EQUIVALENTS
FOR TEACHING, ADVISING, AND OTHER DUTIES
2010-2015 WIU/UPI Agreement
Approved by Music Faculty October 2007
I.
Article 18 (Agreement 2010-2015, Faculty Responsibilities and Assignment of Duties), 19 (Summer
Session), and 16 (Distance Education) address issues of workload. Except as defined herein these
articles shall be used to define the assigned duties of faculty.
II. An important consideration of workload is Article 18(College Workload Equivalents). This Article
permits for the approval of special and unique equivalencies. Please note that such workload
equivalencies require submission of a request to the Provost for approval after discussion with the
Dean and Union Chapter president.
It is anticipated that such workload equivalencies will require regular, semester-by-semester,
authorization. In the event that a College workload Equivalency becomes routinely required,
such equivalencies will be made part of the approved additional workload equivalents under
Article 18.
III. For purposes of determining workload (Article 18, University Workload Equivalents) the following
general rules shall apply:
A. Twenty-two ACEs shall be the maximum workload for two semesters.
B. On the tenth day of the Fall Semester, the workload for the fall semester shall be fixed.
This load for the semester may be as small as 9 ACEs or as large as 13 ACEs but cannot
exceed 22 ACEs for two semesters without payment of overload or assignment of
Professional Achievement Award (PAA) points. On the tenth day of the spring semester the
annual workload for a faculty member shall be fixed.
IV. One-semester sabbatical leaves shall be counted as an 11 ACE equivalency. Full-year, half-pay,
sabbatical leaves also count as an 11 ACE equivalency.
V. The approved workload equivalents for Music for the Agreement, 2010-2015 are as follows:
A. Mass Lecture (18.2.a)
A mass lecture shall be a course with more than 110 students.
B. Preparations (18)
Two of the following courses will count as one preparation, and three of the
following courses shall count as two preparations for the purposes of Article 18.3. These
are 1 and 2 SH courses that meet for 1 or 2 contact hours receiving 0.85 or 1 ACE per
contact hour.
MUS 065, 080, 130, 131, 132, 133, 134, 135, 136, 137, 138, 141, 151, 161, 162,
66
231, 261, 165, 166, 183, 184, 254, 255, 261, 262, 263, 265, 266, 283, 284,
330, 331, 332, 337, 355, 365, 367, 392, 393, 395, 396, 397, 430, 451, 452, 460, 461, 462,
463, 464, 465, 466, 492, 493, 494, 495, 496, 497
The following courses will count as one prep each: MUS 181, 182, 281, 282
This section and Article 18 refer to different preparations in a year.
C. Touring of Ensembles (Article 18)
Wind Ensemble
0.5 ACE* in semesters when tour occurs
University Singers
0.5 ACE* in semesters when tour occurs
Orchestra
0.5 ACE* in semesters when tour occurs
Jazz Studio Orchestra
0.5 ACE* in semesters when tour occurs
Marching Band
2.0 ACEs* public presentations in fall semester
*Does not include ACEs for scheduled rehearsals.
D. Undergraduate Advising (18)
Undergraduate Advising shall be pro-rated as follows:
1 - 8 students
= 0.5 ACEs per year
9 – 16 students
= 1.0 ACEs per year
17 – 24 students = 1.5 ACEs per year
25 – 32 students = 2.0 ACEs per year
33 – 40 students = 2.5 ACEs per year
41 – 48 students = 3.0 ACEs per year
49 – 56 students = 3.5 ACEs per year
When music minor advisement is required, it will be performed by the Assistant
Director of the School of Music as part of his/her assigned duties.
E. Graduate Advising (Article 18)
Faculty shall receive 0.125 ACEs per actively enrolled graduate students
advised. To be actively enrolled a student must have enrolled in at least one
course towards their degree in the past 12 months.
(note: Summer advising to be addressed in PAA points system)
F. Assistant Director of the School of Music
3 to 7 ACEs per semester, depending on workload responsibilities
G. Directors of Ensemble Areas and Preparatory Programs (Article 18)
Faculty assigned to direct ensemble areas and other special programs shall
receive the following ACEs:
Director of Bands
Director of Choirs
Director of Jazz Studies
Director of Orchestras
2.0
2.0
2.0
2.0
ACEs
ACEs
ACEs
ACEs
per semester
per semester
per semester
per semester
H. Assistants to the Director of the School of Music for (Article 18):
1. Recording
2. Equipment/Property Control
3. Undergraduate Mid-Career Assessment
67
2.0 ACEs per semester
0.25 ACE per semester (string instruments)
0.5 ACE per semester
I. Graduate Studies Coordinator (Article 18) 0.5 ACE per semester
J. Area Coordinators
0.5 ACE per semester
Strings, Wind/Percussion, Keyboard, Voice/Choral, History/Humanities,
Theory/Composition (Article 18)
K. Professional Program Directors (Article 18):
Music Business
Music Education
Music Therapy
0.5 ACE per semester
1.0 ACE per semester
0.5 ACE per semester
L. Percussion Equipment Management and Maintenance (Article 18)
Concert percussion
1 ACE per semester
Marching & Jazz percussion 1 ACE per semester
M. Special Course Equivalencies (Article 18)
Given the unique nature of the music courses this item addresses course load
requirements by class and student specification.
1. Non-credit Assessment Courses
MUS 300 (Student Teaching Review) will be credited .25 ACE per semester
2. Applied Study
MUS 204-229, 404-429, 504-529, will be credited with 2/3 ACE (0.67) per
contact hour per week for scheduled lessons (based upon applied load reports due to
the School of Music Director by the 10th day of the semester).
Seminars, studio classes, student recitals, studio placement auditions, and juries are
parts of the students contact, preparation, and evaluation for Applied Study, and will
not be credited with extra ACEs. Such activities may be evidence of teaching
excellence as provided for in the School of Music Criteria.
3. Ensembles
MUS 101-118, 121-129, and 501 will be credited with 2/3 ACE (0.67) per
contact hour per week for scheduled rehearsals. MUS 108, 109, and 118 will be credited
with up to 5 contact hours according to need and circumstance (@ .67 ACE per contact
hour).
4. Lecture Courses
Unless indicated below, all courses that meet for one contact hour per week per
student credit hour will be credited with 1 ACE per contact hour per week
a. Lecture Equivalent Courses
These courses shall be credited with 1 ACE per contact hour per week. They are
similar to lecture courses in their requirements for preparation of lesson plans,
structuring of instruction, testing and grading, and student use of instructors' outof-class time.
MUS 181,182, 281, 282 (Music Theory I, II, III, IV)
MUS 183, 184, 283, 284 (Aural Skills I, II, III, IV)
MUS 132, 133, 134, 135, 136, 137, 138
68
3 ACEs
2 ACEs
(Techniques Courses)
2 ACEs
b. Lecture-Applied Courses
These courses shall be credited with 0.85 ACEs per contact hour
per week. They are similar to lecture courses for about half of the preparation
and instruction time, and similar to applied courses for the other half. (Some
of these courses are 1 SH for 1 contact hour, some are 1 SH for 2 contact
hours, and some are 2 SH for 2 contact hours.)
MUS 065 (Remedial Piano)
MUS 080 (Basic Music Skills)
MUS 165, 166, 265, 266 (class piano)
MUS 167 (intro to jazz piano)
MUS 162 (class voice)
MUS 161, 261 (class guitar)
MUS 187 (Jazz Fundamentals and Theory)
MUS 254 (Materials & Methods in Music Therapy)
MUS 255 (Music Therapy Clinical Skills I)
MUS 267 (Jazz Improvisation I)
MUS 355 (Music Therapy Clinical Skills II
MUS 365 (Keyboard Skills)
MUS 367 (Jazz Improvisation II)
MUS 460(G) (Chamber Music Lit. and Tech.)
1.7
1.7
1.7
1.7
1.7
1.7
1.7
1.7
1.7
1.7
1.7
1.7
1.7
1.7
ACEs
ACEs
ACEs
ACEs
ACEs
ACEs
ACEs
ACES
ACEs
ACEs
ACEs
ACEs
ACEs
ACEs
c. Internship and Field Supervision
These courses shall be credited with .2 ACEs per student for supervision that
does not involve travel outside of Macomb or .3 ACEs per student for
supervision that does involve travel outside of Macomb. In addition, a
scheduled hour of lecture will be credited with 1 ACE.
MUS
MUS
MUS
MUS
MUS
241, Music Business Practicum
258, Practicum in Music Therapy
457, Music Therapy Internship
458, Practicum in Music Therapy
442, Music Business Internship
.1 ACE per student
1.0 ACE + 0.2 ACE per student
0.2-0.3 ACE per student
1.0 ACE + 0.2 ACE per student
0.2-0.3 ACE per student
d. Evaluation of Teaching Certification Portfolios (18.18)
10 portfolios = 0 ACEs [per academic year]
11 or more portfolios – 0.5 ACEs for each five portfolios or fraction thereof
e. Student Teaching
Student Teaching Coordinator
Student Teaching Direct Supervision
1.0 ACE per semester
0.3 ACE per student
Student teaching supervision in the School of Music is a necessary supplement
to the supervision that students get from the College of Education resident
supervisors. Departmental supervision comprises two sets of responsibilities,
Coordination and Direct Supervision.
Coordination involves:
• Site selection and placement in coordination with the College of Education
• Coordination with cooperating teachers
• Coordination with College of Education resident supervisors
69
• Overseeing assessment procedures – reviews, portfolios, acceptance into Senior
Division
• Overseeing student completion of appropriate applications and recommendations
• Organizing a student teacher seminar each semester
Direct Supervision involves:
• Monitoring and evaluating each student teacher's development, progress, and
performance through phone calls and (on average, 3-5) site visits
• Maintaining liaisons with resident supervisors and cooperating teachers
• Developing and revising observation procedures
• Developing contacts that may lead to new sites for future placements
Pre-Student Teaching clinical experiences are currently a part of MUS
130, 231, 232, 330, 331, 333, 334, 335, 336, and 395. Supervision of those
experiences is included in the load credit assignment for those courses. If the
College of Education delegates any additional pre-student teaching
responsibilities to the School of Music, those workload equivalents will have to
be defined.
f. Pre-college Teaching
Unit A faculty will not be assigned to pre-college teaching except for the minimum
necessary for observations as provided in the DWE section on pedagogy courses.
N. Faculty Chamber Ensembles (18)
Each ensemble will rehearse a minimum of two hours per week, perform once a year in
the Faculty Chamber Music series, provide other incidental performances as
appropriate, and schedule performance tours of high schools for recruitment once a
semester.
1. Camerata Woodwind Quintet
1.0 ACE per semester
2. Lamoine Brass Quintet
1.0 ACE per semester
3. Julstrom String Quartet
1.0 ACE per semester
4. Hopper Jazztet
1.0 ACE per semester
O. Tutored Study (Article 18)
Courses offered as tutored study (Article 18 and definition on p. 5) will be credited
with .1 ACE per student per credit hour for undergraduates and .2 ACE per student per
credit hour for graduate students. This is a straight prorating of ACEs for 10
undergraduates or 5 graduate students in a course. (Examples: A 3 SH course with 10
undergraduates will receive 3 ACEs; the same course with 5 undergraduates will
receive 1.5 ACEs. A 3 SH course with 6 undergraduates and 2 graduates will receive 3
ACEs; the same course with 4 undergraduates and 1 graduate will receive 1.8 ACEs.)
Lecture Equivalent courses as listed in L.4.a. above and Lecture-Applied courses as
listed in L.4.b. above will not convert to tutored study.
P. Faculty members assigned to oversee, collect and/or analyze data, write reports, or
otherwise to be involved in Program Accreditation (18.20) will be awarded 1-3
ACEs per academic semester based upon the level of their involvement in the
accreditation process.
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APPENDIX II
SUMMER ROTATION POLICY: WIU SCHOOL OF MUSIC
2010-2015 WIU/UPI Agreement
A. Formation of the Rotation Order
1. In order to ensure that all tenured/tenure track employees in the School of Music have equal
access to the School’s summer session employment, a rotation list was originally established by
seniority. New faculty and former department chair names are placed at the bottom of the list
with the former department chair coming before the new faculty if s/he rejoins the faculty in
the same semester as new faculty. In the event of more than one new faculty member in a
given year, the order of appearance shall be determined by date of the offering letter.
2. When a faculty member has accumulated a total of three ACEs of summer teaching/primary
duties within three consecutive summers or less, his/her name is placed at the bottom of the
rotation list.
3. If a faculty member fails to request or declines a summer assignment, his/her position in the
rotation will be unaffected.
B. Eligibility for Summer Assignment
1. Tenured/tenure-track faculty have priority in summer teaching assignments. Associate Faculty
have priority over temporary and part-time employees in the award of summer session
appointments. Associate Faculty and temporary employees may receive School of Music
assignments only after all faculty on the tenured/tenure-track list, who qualify according to
program needs, have been offered a full load (3-4 s.h. assignment). Before tenured/tenuretrack faculty are offered an additional assignment which would take them over the 3-4 s.h. full
load, Associate Faculty and temporary employees will be offered one, as long as program needs
are met.
2.
Faculty who have resigned or are retiring are not eligible for summer assignment if the
dates of such assignment are after the date of resignation or retirement.
3.
Faculty on terminal contract are not eligible for summer employment.
C. Factors Employed for Determination of Summer Assignment
1.
Curricular/Program needs are considered first; then the summer rotation list is consulted
for the assignment of faculty. Faculty expertise is a prime consideration in making the
assignment, and faculty qualifications are determined by the School of Music Director in
consultation with the faculty.
2.
Faculty assignments affected by this policy include on-campus and off-campus classes,
summer, inter-session, and extension classes. Continuing Education ISP courses and
assignments funded by external grants/contracts are not counted for rotation purposes.
3.
Summer internship supervision, student teaching supervision, and advising may
be assigned to those faculty who normally perform such duties, irrespective of the rotation
plan. A faculty member who accumulates three ACEs of such assignment in three consecutive
summers will be rotated to the bottom of the list. Such assignments will be compensated at
the rate determined by the School of Music Workload Criteria. (Article 29)
4. A faculty member who teaches a low-enrollment course and is paid at the reduced rate
specified in Article 29 will not have that course counted toward his/her accumulation of
summer ACEs.
5. Faculty with ten-month or more appointments will not be considered for summer teaching until
all qualified faculty with nine-month contracts have declined the assignment.
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APPENDIX III
DEPARTMENT CRITERIA FOR RETENTION, PROMOTION, AND TENURE
School of Music, Western Illinois University, 2010-2015
Page
I.
School of Music Personnel Committee
2
II.
Educational Requirements for Tenure
3
III. Materials and Methods of Evaluation
3
A. General Considerations
3
B. Teaching/Primary Duties
1. Role of Student Course Evaluations
2. Classroom/Studio/Rehearsal Observation
3. Peer Evaluations of Teaching Materials
4. Informal Observations/Evaluations
5. Additional Evidence of Teaching Effectiveness
6. Non-teaching Assigned Duties
4
4
5
6
6
7
8
C. Scholarly/Professional Activities
1. Types of Scholarly/Professional Activities
2. Means of evaluating quality
9
9
10
D. University/Community Service
1. School of Music Service
2. University Service
3. Community Service
11
11
12
12
IV. Performance Standards
V.
12
A. General Considerations
12
B. Standards for Retention, Tenure, and Promotion
1. For Retention in PY 1 and PY 2
2. For Retention in PY3
3. For Retention in PY4 and PY5 and
For Tenure and Promotion to Associate Professor
4. For Promotion to Professor
13
13
13
14
14
15
Tenure or Promotion on the Basis of Exception
15
VI. Unit B: Associate Faculty Promotion to Assistant Professor
72
16
DEPARTMENT CRITERIA FOR RETENTION, PROMOTION, AND TENURE
School of Music, Western Illinois University
Endorsed by Music Faculty vote – December 4, 2007
Preamble: It is the intent of the Board, the Union, and the School of Music to promote the quality and
effectiveness of education at Western Illinois University and to promote high standards of academic
excellence in all phases of instruction, research, and service. The Board, the Union, and the School of
Music recognize that an effective and harmonious working relationship will facilitate achievement of
common objectives and will provide an environment conducive to the delivery of a high quality
education and, moreover, affirm that academic freedom and responsibility should not be abridged or
abused.
All employees at Western Illinois University are expected to conduct themselves in an ethical manner.
All faculty members are expected to adhere to the University's policies and regulations regarding
professional behavior. Sanctions imposed for violations of employment obligations or professional
ethics as specified in Board or University policy, rules, and regulations, or in the WIU/UPI Agreement,
will be addressed with appropriate procedures as outlined in Article 21 of the WIU/UPA Agreement.
I. School of Music Personnel Committee
A. Election
1. In the last two weeks of school each spring, all tenured faculty who are not scheduled for
sabbatical or other leave will be automatically nominated for the MPC. The director will
prepare a paper ballot that will be circulated with a due date of the third-to-last day of
classes. All Unit A faculty will be eligible to vote, and may vote for up to seven candidates. The
seven candidates who receive the most votes will be elected to the MPC. Each member of the
MPC will have a term limit of three consecutive years. After three consecutive years of service
on the MPC, a faculty member will not be eligible for election for one year. Additionally, the
MPC and Director may co-opt an agreed upon tenured area representative in the primary
specialty area of the applicant (or, when necessary, a related area) as a non-voting member for
all PY, tenure, and promotion considerations.
2. Within a week of notification of the results of the election, the MPC will elect a chair from its
ranks, and report the name to the faculty and the director.
B. The chair of the MPC may appoint a subcommittee of members of the MPC to help draft the
narrative summaries for MPC decisions.
C. Faculty on the MPC will not evaluate themselves. No alternate will be selected to serve in his or her
place.
D. The MPC will vote on each of the three areas for evaluation for each applicant. A majority of votes
cast is required for a finding that the applicant meets the relevant standard in an area. An applicant
must meet the relevant standard in all three areas for the MPC to make a positive recommendation
for retention, tenure, or promotion. The MPC may vote by show of hands or by secret ballot, at its
discretion. The MPC chair is entitled to a vote. An abstention is not counted as a vote cast. The MPC
will hold at least one meeting for the purpose of discussing each application. A member of the MPC
who is unable to attend the scheduled meeting may vote by sending a written vote to the MPC chair
before the meeting. Only those members of the MPC who originally voted on a given application
shall vote on an appeal of that decision.
E. Faculty on the MPC will not evaluate family members. No alternate will be selected to serve in his or
her place.
73
II. Educational Requirements for Tenure
A. Performance (instrumental, vocal, conducting) – M.F.A., or Masters plus 30 semester hours of
graduate work relevant to the area of specialization
B. Music Therapy – Masters plus 30 semester hours of graduate work relevant to the area of specialization
C. Music Business –Masters plus 30 semester hours of graduate work relevant to the area of specialization
D. All Other Areas – Earned doctorate (Please find doctoral equivalency information on page 19)
E. The nature of a faculty member’s classification must be clarified by the Director, in writing, at the
time of hire.
III. Materials and Methods of Evaluation
[Categories of materials and activities appropriate for the School of Music to use in each of the areas
for evaluation, and the relative importance of the materials and activities. (20.4)]
A. General Considerations
1. The School of Music recognizes that certain activities may fall under more than one category.
Such activities may be cross-listed, as long as the narrative clearly indicates which aspects of
the activity contribute to which category.
2. Every application for retention, promotion, and tenure must have a narrative statement that
describes the applicant’s activities in the three categories for evaluation, how those activities
meet the Department Criteria for methods and materials for evaluation, and how those
activities meet the School of Music Criteria for the performance standards for the appropriate
level.
3. The narrative is the applicant’s opportunity to explain to evaluators the importance of the
activities
and the ways in which the activities are evidence of effectiveness in the three areas.
4. The applicant should keep in mind that the narrative is to be read and used by evaluators at all
levels of the evaluation process, and not just at the School of Music level.
5. The narrative and outline of activities are considered to be the documentation of the activity.
Pertinent supporting materials in the three areas may be required, encouraged, or permitted
(as noted in the appropriate locations in the outline below), but all evaluators are not
expected to examine all of those materials. (Evaluators may require additional support
materials or evidence that an applicant has engaged in any activity listed.)
6. The outline of materials and methods of evaluation indicates ways in which the narrative
should address particular evidence.
7. The final paragraph(s) of the Teaching/Primary Duties narrative should address ways in which
the activities presented in the Scholarly/Professional and Service sections of the portfolio
inform the performance of teaching/primary duties.
8. The lists of examples of the types of activities, which might be submitted in the various
categories of evaluation, are not intended to be prescriptive. Faculty members are not
expected to be evaluated on all the items listed.
74
9. Optional external evaluations for tenure, associate professor, and full professor: Faculty
applying for tenure, associate professor, or full professor have the option of submitting an
abbreviated electronic version of their portfolio for evaluation by three external evaluators.
The applicant and Director will each suggest three possible evaluators; from this list of six
professionals the external evaluators will be chosen in this order and number: one by the
applicant, one by the MPC, and one by the Director.
The pool of evaluators should be full professors in the specialty area(s) of the applicant at
comparable regional comprehensive universities. However, the applicant may suggest tenured
faculty from any kind of college or university. If there are not enough full professors available,
tenured Associate Professors will be considered. In order to provide an objective professional
evaluation based on the content of the abbreviated electronic portfolio, the external
evaluators selected should not have a relationship to the applicant that would create a conflict
of interest or undermine the integrity of the process.
Application year timeline:
September 1
September 30
October 15
October 31
December 1
Notify the Director of the School of Music of intent to exercise
external evaluation option.
Complete required external evaluator list (including evaluator
agreement to serve if selected).
External evaluators chosen by applicant, MPC and Director.
Abbreviated electronic portfolio sent to external evaluators (return
deadline of November 30).
External evaluations provided to applicant for inclusion in
Tenure/Promotion portfolio. For any reviews not received by November
30, the Director will contact the external evaluator(s) to follow up on
the progress of the review. If for any reason, the external review is not
received in the School of Music Office by January 5, the applicant may
choose to omit that review from the Tenure/Promotion portfolio.
The applicant may abandon the external evaluation process at any time up to the date
(October 31) the materials have been mailed. Once the abbreviated electronic portfolio has
been sent to the external evaluators, the applicant is obligated to continue the process and
include the external reviews in the Tenure/Promotion portfolio (exceptions as noted in the
timeline). If the applicant misses any of the timeline deadlines, the external evaluation process
will be aborted.
The abbreviated portfolio should include: curriculum vitae, syllabi and representative course
materials, programs and a CD/DVD of live performances and/or examples of scholarly work and
publications, and an outline of service activities. The external evaluators will be provided with
a copy of the School of Music Department Criteria for tenure, promotion to associate professor,
or promotion to full professor, and each evaluator will base his/her comments on this criteria.
In particular, the external evaluators will be asked to comment on: (1) the way the course
materials and syllabi represent appropriate coverage of the topics, the currency of the
material, and the organization, and (2) the applicant’s “Adjudicated activity” in terms of the
significance of the venue and the nature of adjudication involved, and the quality of the work
presented according to prevailing professional standards. The service outline is provided for
context, not for evaluation. The results of these external evaluations shall be used as a piece
of evidence reflecting the applicant’s sustained maintenance of teaching skills and quality of
scholarly work.
75
B. Teaching/Primary Duties
1. The Role of Student Course Evaluations
a. Due to the diverse nature of the kinds of teaching in the School of Music, no single evaluation
instrument is adequate. Faculty may choose to use the School of Music instrument appropriate
for the course (applied study, ensemble, or classroom course) or the Purdue cafeteria system.
The cafeteria instrument that an instructor configures for a particular course must include at
least five items in addition to the core questions, and the results of those items must be
presented. Whichever evaluation instrument is chosen there must be a question included that
rates the overall performance on the instructor for the class being evaluated.
b. The results of the student course evaluation shall be presented with a mean or median
response and the distribution of responses for each item on the instrument. The results will
also include an average of such means. Student comments from the evaluations must be
included. The narrative shall indicate that the scale is a range from 1 to 5 with 5 high. The
student course evaluations are the property of the university.
c. All faculty must submit student course evaluations for all courses taught.
d. For the purposes of applications for promotion, the combined enrollments in the undergraduate
and graduate sections of any applied course (as identified in the catalog) will be considered
one course.
e. The undergraduate and graduate sections of any Applied or Ensemble course may be combined
for the purposes of course evaluation with the results reported as a composite.
f.
Items on the evaluation instrument that deal specifically with that course and that instructor
shall be considered as evidence of teaching effectiveness, while those that tend to compare
instructors shall not be considered. Statistical data that indicate the mean of responses for
each item on the evaluation instrument will be considered, while percentile rankings will not.
g. In using the numerical scores for Student Course Evaluations, where 3 is a neutral response,
scores below 3 indicate a weakness. However, evaluators will acknowledge the inherent
differences in form, content, or audience that might adversely affect a faculty member’s
evaluation. [20.4.c. (1) (f)]
h. The integrity of the process of administering student course evaluations shall be respected and
maintained. Student course evaluations are to be administered during the last three weeks of
regularly scheduled classes each semester except in the case of team-taught/shared courses in
which the course evaluation should be administered during the penultimate week of the
portion of the course taught by the particular faculty member. Other exceptions might include
ensembles whose activities do not extend over the entire semester. In these cases, the course
evaluation should be administered during the penultimate week of the course activities.
Exceptions to this schedule may be granted by the School of Music Director. Faculty shall not
be present while students are completing evaluation forms or receive the completed course
evaluations until after grades have been submitted.
i.
Student evaluations are the property of the university. Faculty will be provided with a copy of
the evaluation scores and all transcribed comments. The School of Music office will make every
attempt to provide student evaluation results to faculty before the end of the first month of
the semester following the administration of the evaluations.
j.
Faculty shall be evaluated on the basis of more than one measurement of teaching
effectiveness. Numerical scores on student evaluations shall not be the sole determinant in
retention, tenure, promotion, and four-year appraisal recommendations. Evaluators should not
render negative personnel decisions based on one or a few low scores or one or a few classes,
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but, rather, evaluators should interpret numerical scores from student evaluations in terms
of clear and consistent “patterns” that have developed over the appropriate evaluation period
(Article 20.11.b).
k. Solicited letters of reference from current students shall not be included as evidence of
teaching effectiveness. Unsolicited letters from current students, as well as unsolicited or
solicited letters from former students, may be included.
2. Classroom/Studio/Rehearsal Observation
a. Classroom/Studio/Rehearsal observation may be conducted by the School of Music Director, the
Music Personnel Committee, or designated colleagues. In the case of the members of the MPC,
or designated colleagues, feedback should be written. In the case of the Director, feedback may
be verbal or written.
b. Peer Observation of Teaching: Faculty must have a minimum of two peer observations by
tenured faculty for each PY evaluation. Over the period of PY1 to PY6, a minimum of two of
those observations must be by the Director. Evaluations that document observations from more
than one class period are recommended.
c.
Additional peer observation of teaching may be commissioned by the MPC or School of Music
Director, in which case the MPC or Director chooses the evaluator, or may be solicited by the
instructor, in which case the instructor chooses the evaluator. The observations commissioned
by the MPC or School of Music Director must be included by the applicant in the portfolio.
d. A larger number of observations will be considered to carry more weight than a single
observation. An observation of a complete class period will be considered to carry more weight
than observation of a partial class. A single observation that suggests problems with the
teaching should trigger additional observations.
e. The observer may use, at his/her option, either:
(1) A scripting or holistic approach to taking notes of the observation followed with a written
narrative report
(2) A double-entry log, with description of what the evaluator observes on the right side and
reactions and reflections on the left, should be used for taking notes
(3) The written narrative should organize the observations and judgments of the evaluator
according to the following prompts:
(a) Organization
(b) Variety and pacing
(c) Knowledge of content
(d) Presentation
(e) Teacher-student rapport
(f) Clarity
f.
The notes from the observation remain the property of the evaluator, who should keep them
until the final disposition of the personnel action for which they were taken. The written
narrative or final checklist with comments will be provided to the faculty member within 3
weeks of the observation. This document must also be forwarded to the MPC, the Director of the
School of Music, and will become part of the file.
g. The report of the observation will include: instructor; date and time of observation; course
number; course title; level of students; number of students present; and the nature of the pre-
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observation information the observer obtained from the instructor. The observer will try to
observe teaching that is representative of the instructor’s teaching.
h. The instructor will be permitted to attach a written response to the report of the observation,
and that written response will become part of the record of the observation.
i.
The Director will evaluate oral English proficiency as mandated by Illinois statute.
3. Peer Evaluations of Teaching Materials
a. The MPC may choose to review course materials that are included in the support materials on
its own as part of its total evaluation. Summative peer review of course materials may also be
commissioned by the MPC or School of Music Director, in which case the MPC or Director
chooses the evaluator, or may be solicited by the instructor, in which case the instructor
chooses the evaluator. The MPC, School of Music Director, or evaluator may request additional
materials from the instructor of for the purposes of review. The instructor is expected to
cooperate with reasonable requests. The summative review may be of the materials of one
course or of more than one course. The written report of the review and any written response
to the review by the instructor will be included in the file.
b. At minimum, the materials reviewed will include the syllabus and major exams and project
assignments. Instructor comments on student work may be included by the instructor, but shall
not be required.
c.
The results of the review will be in the form of a written narrative. The instructor will be given
a copy of the report in a timely manner, so that the instructor will have an opportunity to
attach a written response to the report of the review. The written response will also become
part of the record of the review.
d. Faculty are encouraged to solicit peer evaluation of their teaching materials.
4. For the purpose of improving teaching effectiveness, mid-term student evaluations, informal
observations of teaching by School of Music Director and/or peers, self observation (audio and/or
video recording of classes, lessons, or rehearsals), and other similar types of activities solicited or
performed by the faculty member, beyond those required for PY evaluations as indicated above,
are encouraged and may be presented as evidence of the desire to examine and improve
effectiveness of teaching.
5. Additional Evidence of Teaching Effectiveness
a. Evidence of command and currency in subject matter and ability to organize knowledge or
material.
(1) Evidence may be presented of developing, maintaining, and revising course materials, such
as syllabi, reading lists, tests, study guides, reserves, web pages, and so on.
(a) A syllabus for each course taught in the appraisal period shall be included in the
supporting materials. (For multiple sections or offerings of the same course, only one
syllabus need be included.)
(b) The narrative should describe the way in which such materials are evidence of
command of subject matter and ability to organize material. Selected course materials
may be included in the supporting materials.
(2) Evidence of command and currency in subject matter may also be presented in the form of
letters from colleagues.
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(3) The quality of performing ability may be evaluated as evidence of command and currency
in subject matter for teachers of applied courses.
b. Evidence of professional growth related to teaching.
(1) Attendance at workshops, seminars, Faculty Development events, travel, courses,
conventions, clinics, symposia, private study, or other such events related to teaching may
be presented.
(a) The narrative or outline should list the dates, locations, and nature of such events, but
the support materials need not include programs or advertisements or handouts. Proof
of participation, however, should be available if requested.
c. Evidence of professional growth related to subjects taught or cognate areas.
(1) Attendance at workshops, seminars, Faculty Development events, travel, courses,
conventions, clinics, symposia, private study, or other such events related to subject or
cognate areas may be presented.
(a)
The narrative or outline should list the dates, locations, and nature of such events,
but the support materials need not include programs or advertisements or handouts.
Proof of participation, however, should be available if requested.
d. Evidence of application of new methodologies and technologies of instruction.
(1) The narrative should explain the new methodologies and technologies and their
relationship to pedagogical goals.
e. Evidence of student success.
(1) Student success, such as performance on juries, recitals, and concerts, admissions to
graduate programs, prizes, preparation for advanced course work, and so on, may be
presented as evidence of teaching effectiveness.
(2) Results of student assessment may not be used in the evaluation of faculty performance
(20.4.)
(3) Evaluators shall carefully consider a teacher’s responsibility for student success in
evaluating such evidence.
f. Evidence of evaluation of student progress.
(1) Effective teaching involves evaluating student performance and progress.
(2) Evidence of evaluation of student progress may include exams, assignments, listening to
juries, organizing studio classes, attending recitals, convocations, and student ensemble
concerts, and so on. Incorporating student writing in a course may be included.
(3) The narrative should describe the nature of evaluations used in teaching that are presented as
evidence.
g. Acquisition of materials.
(1) Assisting or consulting in the acquisition of library materials, teaching materials,
technology, or equipment related to teaching.
h. Individual student activities.
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(1) Independent studies, thesis committees, thesis directing, student recitals, and so on, for
which ACEs are not assigned.
i. Distance Learning
(1) The faculty member will provide course evaluations and a stamped envelope addressed to
the School of Music. A proctor will administer the evaluations at the distance education
site, collect the evaluations, and mail the evaluations to the School of Music. If no proctor
is available, the faculty member will provide a stamped envelope addressed to the School
of Music and instruct all students to place their evaluation in the envelope and appoint
one student to seal and mail the envelope to the music office. All costs associated with the
evaluations will paid by the University.
(2) Evaluators will consider such factors as lack of personal contact between students and
faculty, student discomfort with technology, faculty preparation for distance teaching, and
the effect of problems with the technology when evaluating the effectiveness of distance
teaching. Such factors beyond the control of the instructor will not be held against the
applicant.
j. Other Evidence
(1) Other evidence of effectiveness of teaching that is not described above may be included.
The narrative should indicate the nature of the evidence and its relevance to the
evaluation process.
6. Non-teaching Assigned Duties
a. Advising
b. Director of Ensemble Program Assignments
c. Area Coordinators
d. Convocations Coordinator
e. Assistants to the Director
f. Accompanying
g. Camerata Woodwind Quintet
h. Julstrom String Quartet
i. Lamoine Brass Quintet
j. Hopper Jazztet
k. Other Assigned Professional Activity
l. For all non-teaching assigned duties, the outline shall include a comprehensive list of the
assigned duties. For all non-teaching assigned duties, the written explanation of expectations
under which the faculty member has been operating will be included in each portfolio. The file
must present evidence of the effectiveness of the performance of these duties. The narrative
should address the effectiveness of the performance of those duties, and should clearly distinguish
between activities that are part of the assignment and activities that are not part of the
assignment but should be evaluated as Scholarly/Professional Activity or Service.
m. All evaluation portfolios must include the official final ACE sheet(s) for the evaluation period
under consideration.
C. Scholarly/Professional Activities
1. Types of scholarly/professional activities
a. Publication
(1) Book, chapter, article, review, translation, abstract, editorship, etc.
(2) Composition/arrangement/transcription
(3) Acceptance for publication may be listed, but actual publication and acceptance for
publication may not be counted as two items.
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b. Performance
(1) As performer
(2) Of composition/arrangement/transcription
(3) Ensemble directors who present more than one performance per semester for any
ensemble may list the additional performance(s) as scholarly/professional activity or as
service, depending on the nature and function of the performance.
(4) Any evaluative critique by a peer of a colleague who is a conductor of a student ensemble
must list the date that the evaluator actually heard the ensemble perform.
c. Presentation
(1) Paper, lecture, panel discussion, clinic, workshop, chairing session, etc.
d. Recording
(1) As performer
(2) Of composition/arrangement/transcription
(3) As producer/editor
e. Other Research/Creative Activity
(1) Research that has not yet led to publication/presentation
(2) Research in support of teaching, research in cognate areas, etc.
(3) Composition/arrangement/transcription that has not yet led to performance/publication
f.
Adjudication
(1) The narrative should describe the context and significance of the activity and its relevance
to professional achievement.
g. Participation in professional organizations
(1) The narrative should indicate the extent and nature of the participation, including
whether the activity is at the national, state, or local level, and offices, positions and/or
leadership roles.
h. Work in progress
(1) For any work in progress, the narrative should indicate the nature and extent of the work
and its progress.
i.
Technology
(1) Any activity that involves technology and is equivalent to any of the creative, research, and
professional activities above, such as editing an electronic mailing list, authoring software,
editing a journal on the Internet, or a web-based publication may be included.
j.
Other Evidence
(1) Other evidence of scholarly/professional activity that is not described above may be
included. The narrative should indicate the nature of the evidence and its relevance to the
evaluation process.
2. Means of evaluating quality
a. Adjudicated activity – refereed, juried, invited, auditioned, selected, reviewed, etc.
(1) The narrative and outline should indicate the significance of the venue (journal,
conference, orchestra, etc.; local, regional, national, international) and type of
adjudication involved.
b.
Non-adjudicated activity with non-WIU professional colleagues present
(1) Includes recital, tour, symposium, festival, and so on.
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(2) May be on campus or away.
(3) May be an activity arranged by the applicant.
(4) The narrative should indicate the significance of the venue and the extent to which the
activity exposes the applicant’s work to non-WIU professional colleagues.
c.
Non-adjudicated activity other than b., above
(1) Includes recital, concert, lecture, workshop, and so on.
(2) May be on campus or away.
(3) The narrative should indicate how such activity supports professional interests of the
applicant and the mission of the School of Music.
(4) The narrative should indicate the extent to which the activity provides WIU professional
colleagues opportunity to evaluate the work.
d.
Written evaluation
(1) Written evaluation of the quality of the applicant’s work may be solicited by the applicant,
the MPC, or the Director, or may be unsolicited. Written evaluation solicited by the MPC or
Director will become part of the file, and will be provided to the applicant.
(2) Evaluators will consider the qualifications of the author, the opportunity to observe, and
the type of activity observed or read when weighing the significance of written
evaluations.
f.
Performance
(1) Commonly accepted professional standards for quality of performance in the broad areas
of technique and musicality shall be applied in weighing the evidence of direct observation
of performance.
g.
Recognition
(1)
(2)
(3)
(4)
Grants
Citations, reviews
Commissions, fellowships, prizes, awards, listings
The narrative should indicate the extent and nature of national, state, or local recognition
of research/creative activity.
h. The size and nature of the teaching load of any applicant will be taken into consideration when
evaluating the quantity of scholarly/professional activity.
j.
Any activity that is not an assigned duty that draws on professional expertise belongs in the
category of Scholarly/Professional Activity. The more an activity draws on professional
expertise, the more it belongs. On the other hand, on-campus and community presentations
that do not require new or extensive research should be included in Service.
(1) The narrative should clearly indicate how any ambiguous or cross-listed activity draws on
professional expertise.
D. University/Community Service
1. School of Music Service
a. Committees
(1) The narrative should describe the faculty member's involvement in terms of contribution,
leadership, and time commitment.
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(2) Certain School of Music committees are central to faculty governance at the School’s
level, including Graduate Studies, Undergraduate Studies, Auditions/Talent Grant, Music
Personnel Committee, Search Committees, Music Advisory Council, and Music Education.
(3) Other committees that may meet less frequently and have more limited agendas or
responsibilities are Grade Appeals, Music Technology, and Convocation.
b. Recruitment
(1) In considering recruitment as a part of School of Music service, both efforts expended and
results obtained shall be considered in a balance, which takes into consideration the
unique challenges inherent to various recruitment specialties in the School.
(2) The narrative should fully describe the faculty member’s activities in the recruitment of
potential students. Such activities might include telephone contacts, letters written, visits
made, lessons/master classes given, conventions/exhibits participated in, guest
recitals/clinics given, etc.
(3) In cases where extensive recruitment efforts have not resulted in subsequent student
matriculation, the narrative could appropriately frame the challenges/circumstances that
contributed to less-than-anticipated results.
(4) Each probationary faculty member who is required to include recruitment in Service shall
develop a written Recruitment Plan in consultation with the Director. This plan must be
included in the evaluation portfolio and will be used by evaluators as a guide in evaluating
the effort and effectiveness of the recruiting activity in probationary and tenure
evaluations. Demonstrated recruitment effectiveness is required for all applied faculty,
ensemble directors, and program coordinators.
c. Sponsorship/Advising of Student Organizations
d. Faculty Mentoring/Peer Review
e.
Other Committees and Activities
(1) Undergraduate Mid-Career Assessment
(2) Commencements and Freshman Convocation
(3) Accreditation and Program Reviews
(4) Equipment Management
(5) Other evidence of School of Music service that is not described above may be included.
The narrative should indicate the nature of the evidence and its relevance to the evaluation
process.
2. University Service
a. University Governance Structures (Committees, etc.)
(1) The narrative should describe the relationship between university service and the faculty
member’s professional interests or the importance of the service to the mission and
interests of the School of Music. The narrative should also describe the faculty member’s
involvement in terms of contribution, leadership, and time commitment.
b.
Sponsorship of Student Organizations
c.
Other University Service
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3. Community Service
a. Given that so much of the School of Music’s professional activity involves the community, no
particular community service is expected.
b. Service related to the faculty member’s professional expertise may be included.
c. Activities such as consultation, clinics, adjudicating contests, and so on, that are service to
schools, churches, and community groups should be listed as Scholarly/Professional Activities
rather than Community Service to the extent to which they draw on a faculty member’s
professional expertise.
4. The Service Activities listed above are broad enough in scope to allow faculty assigned to the WIU
Quad-Cities campus to meet Service Activity requirements.
IV. Performance Standards
A. General Considerations
1. These performance standards refer to the methods and materials of evaluation described above.
2. These performance standards apply to all faculty members applying for retention, tenure, and
promotion, regardless of whether they do or do not meet the years or service or educational
requirements specified by the contract. Those faculty who do not meet the years of service
and/or educational requirement specified for tenure and/or promotion, and are eligible to do so,
may apply for promotion on the basis of exception. Please see “Tenure or Promotion on the Basis
of Exception” page 18 of this document.
3. Evaluation for retention, tenure, and promotion, will be based on activities within the relevant
evaluation period as defined in Article 20.
4. Teaching is the most important consideration in the total evaluation of any faculty member.
Scholarly/Professional activity is the next most important consideration with service as the
remaining consideration. These priorities are reflected in the specific standards below.
5. The standards for assigned non-teaching duties are in addition to meeting the specified teaching
standards. They may not substitute for or be averaged with the teaching standards.
6. Evaluation Periods: Evaluation for PY 1 will consider documentation for fall semester of that
year. Evaluation for PY2 will consider documentation for spring semester of the first year (with a
review of PY1 outline). Evaluation for PY3 will consider documentation for fall and spring
semesters of PY2 (with a review of PY1 and PY2 outlines). Evaluation of PY4 will consider
documentation for fall and spring semesters of PY3 (with a review of all previous years’ outlines).
Evaluation for PY5 will consider documentation for fall and spring semesters of PY4 (with a review
of all previous semester outlines). This system is presented in the chart below.
PY Year Semesters to be documented:
1 Fall PY1
2 Spring PY1 (plus PY1 outline)
3 Fall and Spring PY2 (plus PY1 and PY2 outlines)
4 Fall and Spring PY3 (plus all previous outlines)
5 Fall and Spring PY4 (plus all previous outlines)
6 (tenure year) Fall PY1-Spring PY5
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7. The evaluation period for promotion (to both Associate Professor and Full Professor) will include
the employee’s entire record since the initial hiring date up to and including the date of
submission of the promotion portfolio.
B. Standards for retention, tenure, and promotion
1. For retention in PY 1 and PY 2, a probationary faculty member is expected to have a minimum
3.0 average mean score on student evaluations for each class taught, and must demonstrate at
least satisfactory performance and progress toward the PY3 standard. In PY 1and PY 2 only
Teaching/Primary duties is evaluated. Faculty in PY1 and PY2 are required to submit plans for
pursuit of Scholarly/Professional activities, and may list Scholarly/Professional activities for that
evaluation period if applicable. Faculty in PY1 and PY2 will demonstrate at least minimal service
in each evaluation period. Service activities, Scholarly/Professional activities, and plans for
Scholarly/Professional activities must be included in the evaluation portfolio for written advisory
comment from the Music Personnel Committee, School of Music Director, and College Dean. A
non-retention decision in PY1 and PY2 cannot be based on Scholarly/Professional or Service
activities. PY1 and PY2 written advisory comments are intended for the faculty member’s
professional development, and shall not be used as a basis for personnel decision making in PY1
or PY2, or in future evaluation years.
2. For retention in PY 3, a probationary faculty member must demonstrate the following.
a. In the Area of Teaching/Primary Duties:
(1) Command of and currency in the subject matter for every course assigned and the
ability to organize the subject matter in a clear and appropriate manner;
(2) Effective presentation with evidence of effort to improve the effectiveness of
presentation
(3) Effective performance of the assigned non-teaching duties;
(4) Demonstrated student retention effectiveness and studio development for applied
faculty;
(5) Demonstrated student retention effectiveness and ensemble development for
Ensemble directors;
(6) Minimum 3.0 average mean score on student evaluations for each class taught.
b. In the Area of Scholarly/Professional Activities:
(1) Productive activity in one or more areas of specialization leading to opportunities
for the professional work to be exposed to and evaluated by non-WIU professional
colleagues in local or regional venues or beyond;
(2) Sufficient activity for the quality of the work to be evaluated (according to the
procedures described in the methods and materials section of the criteria);
(3) Work of high quality, according to relevant prevailing professional standards.
c. In the Area of Service:
(1) Involvement in a School of Music committee central to faculty governance at the
School’s level; and/or
(2) Involvement in a School of Music committee with more limited agendas and
responsibilities; and/or
(3) Demonstrated student Recruitment effectiveness that reflects implementation and
progress within the applicant’s Recruitment Plan.
(4) Recruitment is required of applied faculty, ensemble directors, and program
coordinators.
3. For retention in PY 4 and PY 5, the probationary faculty member must demonstrate at least
satisfactory performance and progress toward the tenure standard. For tenure and promotion
to Associate Professor, a faculty member must demonstrate the following.
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a. In the Area of Teaching/Primary Duties:
(1) The ability to maintain command of, currency in, and the ability to organize the
subject matter for every course taught;
(2) Highly effective presentation;
(3) Creation of a stimulating learning environment that is appropriate to the type of
instruction and conducive to learning.
(4) Highly effective performance of the assigned non-teaching duties, which
demonstrates leadership and initiative.
(5) Demonstrated student retention effectiveness and studio development for applied
faculty.
(6) Demonstrated student retention effectiveness and ensemble development for
ensemble directors;
(7) Minimum 3.75 average mean score on student evaluations for each class taught.
b. In the Area of Scholarly/Professional Activities:
(1) A cumulative record of substantial activity in one or more areas of specialization
that includes adjudicated activity in significant regional venues. The minimum
requirement for the areas of Music Education, Music History, Music Business, and
Music Therapy, shall be at least two refereed journal publications. However, if an
individual faculty member can demonstrate that another activity in the
Scholarly/Professional area is of at least equal rigor and importance to the
discipline, evaluators may consider this activity as substituting for one of the
publications.
(2) Work of high quality, according to relevant prevailing professional standards.
(3) For applied performance faculty, the activity must include 3 on-campus solo
recitals.
c. In the Area of Service:
(1) A cumulative record of departmental service;
(2) Plus:
(a) Leadership in or significant contribution to departmental committee(s); or
(b) University service germane to the faculty member’s professional interests
or to the department’s mission or interests; or
(c) Substantial community service; or
(d) Demonstrated student Recruitment effectiveness that reflects
implementation and progress within the applicant’s Recruitment Plan.
(3) Recruitment is required of applied faculty, ensemble directors, and program
coordinators.
4. For promotion to Professor, an Associate Professor must demonstrate the following.
a. In the Area of Teaching/Primary Duties:
(1) Teaching skills that demonstrate continued command of, currency in, and
organization of the subject matter for every course taught, presented in a highly
effective and stimulating fashion;
(2) Continued growth as a teacher;
(3) Continued highly effective performance of the assigned non-teaching duties
(4) Demonstrated student retention effectiveness and studio development for applied
faculty.
(5) Demonstrated student retention effectiveness and ensemble development for
ensemble directors.
(6) Minimum 3.75 average mean score on student evaluations for each class taught.
b. In the Area of Scholarly/Professional Activities:
(1) Sustained record of substantial activity of high quality that includes adjudicated
86
activity in significant national venues. The minimum requirement for the areas Music
Education, Music History, Music Business, and Music Therapy, shall be at least four
refereed journal publications, two of which must have been published since
promotion to Associate Professor. However, if an individual faculty member can
demonstrate that another activity in the Scholarly/Professional area is of at least equal
rigor and importance to the discipline, evaluators may consider this activity as
substituting for one of the publications.
c. In the Area of Service:
(1) A record of sustained involvement in School of Music service;
(2) Plus:
(a) Leadership in or significant contribution to School of Music committee(s); or
(b) University service germane to the faculty member’s professional interests
or to the School of Music’s mission or interests; or
(c) Substantial community service; or
(d) Sustained student Recruitment effectiveness
(3) Recruitment is required of applied faculty, ensemble directors, and program
coordinators.
V. Tenure or Promotion on the Basis of Exception
The educational requirement for tenure is specified on page 2 of this document. The educational
requirement for promotion is the same as the educational requirement for tenure (Article 20.9.a.2).
An employee who does not satisfy the degree requirements or educational requirements for promotion
may apply on the basis of exceptional Teaching/Primary Duties or exceptional Scholarly/Professional
Activities. Department Criteria will specify exceptional performance in each of the two areas. In
addition to exceptional performance in the employee's chosen area, the employee will be expected to
meet or exceed regular promotion requirements in each of the two other areas of responsibility
(Article 20.9.c). A School of Music faculty member who applies for tenure or promotion on the basis of
exception must meet one of these three two standards for exceptional performance:
A. Exceptional Teaching/Performance of Primary Duties may be established by demonstrating a
nationally recognized reputation as a teacher;
B. Exceptional Scholarly/Professional Activities may be established by demonstrating a reputation as an
expert in the relevant specialty based on a sustained record of adjudicated activity and activity in
national venues;
C. In addition to exceptional performance in these two areas, the employee will be expected to meet
or exceed regular promotion requirements in the area of Service.
VI. Unit B: Associate Faculty Promotion to Assistant Professor
(Article 33.1.d)
A. Standards
1. For promotion to Assistant Professor, an Associate Faculty member must demonstrate the following.
a. In the Area of Teaching/Primary Duties:
(1) Command of and currency in the subject matter for every course assigned and the
ability to organize the subject matter in a clear and appropriate manner;
(2) Effective presentation with evidence of effort to improve the effectiveness of
presentation;
(3) Effective performance of the assigned non-teaching duties;
(4) Demonstrated student retention effectiveness and studio development for applied
faculty;
87
(5) Demonstrated student retention effectiveness and ensemble development for
ensemble directors;
(6) Minimum 3.75 average mean score on student evaluations for each class taught.
b. In the Area of Scholarly/Professional Activities:
(1) Productive activity in one or more areas of specialization leading to opportunities
for the professional work to be exposed to and evaluated by non-WIU professional
colleagues in local or regional venues or beyond;
(2) Sufficient activity for the quality of the work to be evaluated (according to the
procedures described in the methods and materials section of the criteria);
(3) Work of high quality, according to relevant prevailing professional standards.
c. In the Area of Service:
(1) Involvement in a School of Music committee;
(2) Involvement in University Service;
(3) Demonstrated student Recruitment effectiveness that reflects implementation and
progress within the applicant’s Recruitment Plan.
(4) Recruitment is required of applied faculty, ensemble directors, and program
coordinators.
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Appendix IV
Professional Achievement Award School PAA Activities
Please refer to the UPI Agreement 2010-2015 for policy and procedure information concerning the
following:
20.13. Procedures Unique to PAA Points System
20.14. Implementation of the PAA
20.15. Annual Report
This appendix contains the following information:
1. Memorandum of Agreement
2. Instructions for completing the School of Music PAA application
3. The most recent School of Music PAA application form.
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Memorandum of Agreement
2010-15 Contract Extension
Professional Activities
The administration and UPI have agreed to the following modifications to the “professional activities”
category on the department’s PAA Activities Document:
1. A maximum of .5 points can be earned each year in the Professional Activity category.
2.
The administration agrees to allow more than .1 per activity, if warranted by time and
engagement. The administration agrees that points can be awarded on the basis of a combination of
length and engagement.
3.
The administration agrees that CITR workshops can be accumulated to meet minimum hourly
requirements.
4.
The administration agrees that points can be awarded outside the .5/5 hour of CITR workshops
based on engagement and intensity (equivalent activity).
5.
The administration agrees that chair approval will not be needed before a professional activity earn
points.
6.
It is agreed that professional conferences will not count as workshops unless the faculty member can
demonstrate that the workshop was outside of the normal occurrence of the professional meeting
(ie. Attending a paper presentation or similar panel does not count as a workshop).
Development of Distance Learning Courses
The Administration and UPI have agreed that, for those faculty who develop a distance learning course and
who are not receiving a stipend, the maximum number of PAA points that can be earned is 3 points (in
addition to the ACEs provided under Article 16.4).
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PAA Application Information
April 27, 2009
School of Music
Format of documentation: Documentation shall consist of a list of activities for which points are being
requested in the current evaluation period. Additional documentation may be requested by any of the
examiners.
1.
The format of that documentation is to be in the form of endnotes (see attached sample form).
2. A cardinal number in parentheses (the same font size as the PAA Application print) is to be placed
at the end of the item line to the right of the points requested ( no roman numerals). That number will
be referenced in the endnotes.
3.
Endnotes are to be sequential for the entire document with no additional designation, e.g., (1)
through (22) rather than in categories. This system will allow the evaluators to easily refer to a
particular item by using the endnote number.
General and documentation information
Teaching/Primary Duties (minimum of 8 points required)
Departmental Independent Study/Readings
Documentation: student name, course number, and semester the study took place.
Undergraduate research supervision of projects presented and completed (URD)
It is my understanding from the Provost’s Office that this is limited to (URD) Undergraduate
Research Day projects. Documentation: student name, project name, and date of
presentation.
Honor’s thesis advised and completed
Student(s) must be officially registered for an honor’s course number. Documentation to
student name, course number, and semester study took place.
include
Honor’s recital- honors recital program notes
Student(s) must be officially registered for an honor’s course number. Documentation: student
name, course number, and date of recital.
Student research (adjudicated scholarship, performance, creative activity) advised and presented off
campus
Points given for work adjudicated and selected for presentation, e.g., a student paper selected for
presentation at the American Musicological Society, or in the performance area students who
compete and place in a professional competition or audition, e.g., an MTNA or NATS competition.
Credit is not given for students who compete and do not place. Documentation: student name, name
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of paper or other research selected for presentation, or name of professional organization
competition or audition, placement (first, second, etc. place), and date of event.
Graduate Thesis Committee Chairperson, upon completion
Documentation: student name, degree program, and semester completed.
Graduate Project Committee Chairperson, upon competition
Documentation: student name, degree program, and semester completed.
For serving on a doctoral dissertation committee
Documentation: student name, degree program, and semester completed.
Development of an online course (in addition to ACEs)
Documentation: course number, title, when approved for development, when completed, when
first offered.
FYE faculty who work with peer mentors receive .5 points for every two peer mentors supervised
Documentation: name of peer mentors, FYE course name, and semester offered.
Development of an approved/fully delivered course (not online) – 1-3 points (based on time and effort)
This is referring to development of a new course not preparation required to teach an existing
course you have never taught before. Documentation: name of course and semester offered.
Undergraduate Advising – 1 point per 17 students
Points given only if ACEs were not received for advising. Documentation: student names and
semester advised.
Graduate Advising – 10-19 students/1 points; 0.5 point for every 10 additional students
Points given only if ACEs were not received for advising. Documentation: student names and
semester advised.
Bringing in guest artist – 0.5 points for single event (up to 1 pt. a year)
Points are not given if guest artist is part of a festival for which faculty are also receiving points.
Documentation: guest artist name, date of event.
Organizing and supervising field trip – 0.5 per trip
Points are not given if the faculty member is receiving ACEs for a job which includes as part the job
duties organizing and supervising field trips. For example, one of the responsibilities listed for an
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applied area coordinator is that they “coordinate . . . . student travel to external performance
venues/competitions/festivals. An example of a field trip that would receive points: Jennifer Jones
organized and supervised a field trip for music therapy students to attend the American Music
Therapy Association conference in Louisville, KY. Documentation: number of students involved,
purpose of trip, location, professional organization, date of trip.
Supervising/directing non-credit ensembles and performances – 1 point
Points not given for ensembles/performances for which ACE credits have been received.
Documentation: type of ensemble/performance and date.
Coaching sectionals beyond the applied studio—0.5 (four or more)
Not for coaching individual students or groups of students not connected with an ensemble or an
ensemble festival or event. Sectionals that are done for recruiting purposes must be entered under
recruiting in the Service section. Documentation: list sectionals with dates.
Supervising a performance by an ensemble – 1 point (regional); 2 points (national); 3 points
(international)
Involves invitation to perform from a recognized professional organization; is the result of an
audition process or juried competitive procedure; and cannot be in addition to points requested for
same event under Scholarly/Professional Activities. Cannot receive points if part of job description for
which ACEs are awarded. Documentation: name of inviting organization,
type of event, date of
event.
Major innovation in use of Technology
Documentation: short description of technology use which demonstrates major innovation.
The first week’s substitution for an absent colleague in a course
Documentation: Colleague name, course name, dates of substitution.
Taking a class directly relevant to faculty member with prior approval of Director of School of Music
Relevance determination: course must be able to count in meeting the educational requirement
for tenure for the faculty member’s specialty area. Documentation: name of course, institution, and
semester taken.
0.5 pt. for 2 in-class honors – can be rolled over across years to accumulate
Students must actually be enrolled for honors credit to receive points. Documentation: student
name(s), course name(s), semester
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Professional Development – 0.5 pts. for 5 workshops
According to Provost Office, this item is only for on-campus CITR-type workshops. The
maximum number of points annually is 0.5. Documentation: name of workshop and date.
Enhanced Teaching Performance (see appendix) – 1 point
Read appendix information. Documentation: (a) name of courses, mean scores, semesters; (b)
and (c) name of faculty observer or course content evaluator, names of courses, semesters. The
observation reports or course content evaluations do not have to be attached to the PAA
Application but must be readily available if asked for by one of the PAA evaluators.
An equivalent teaching/primary duty
Cannot be related to anything for which ACEs are received. Documentation: name of activity,
requested point amount, explanation of equivalency.
Scholarly/Professional Activities (minimum of 8 points required)
Category A: Higher-level contributions (2.5 to 3.0 pts. each)
Publication of a Book by a university press, national publisher which is scholarly and peer reviewed- 3
points
Documentation: book title, publisher information including date
Publication of a peer-reviewed journal article in a national/equivalent venue – 3 points
Documentation: article title, journal information including date
Publication of a college level textbook by recognized publisher – 3 points
Recognized publisher indicates some level of competitive peer/editorial review versus vanity
press. Documentation: textbook title, publishing information including date.
Publication of composition, arrangement, transcription by recognized publisher – 3 points
Recognized publisher indicates some level of competitive peer/editorial review versus vanity
press. Documentation: title, publishing information including date.
Recipient of national/international scholarly/professional/creative activities award – 3 points
National/international indicates professional significance and scope not geographical location.
Documentation: name of award and awarding organization, date.
Competitive, major, Sponsored Projects approved external grant award (above $25,000) – 2.5
Documentation: name of sponsored project, grant award amount, date
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Full length recording as performer or composer (peer reviewed) – 3 points
Documentation: recording information, peer review information, including dates
Performance or other artistic achievement in invited or peer-reviewed national/equivalent venue – 3
points
Being invited to perform a recital by a colleague at another education institution does not qualify.
National indicates professional significance and scope not geographical location. Documentation:
listing of achievement and peer-viewed information.
Invited performer, conductor, or artist-teacher at national/international music festival (residence)3pts.
Documentation: activity, name of music festival, dates of residency.
Extended guest residency (more than 2 days) – 3 points
Documentation: name and date of the activity, justification for equivalence- i.e., how is the
proposed activity equivalent to the other items listed in this category in terms of professional
significance and/or work required?
Category B: Moderate-level contributions (1.5 to 2.0 pts. each)
Delivery of a peer reviewed presentation (international, national or regional) – 2 points
International, national, or regional indicates professional significance and scope not geographical
location. Documentation: title of presentation, peer review professional organization, name of
conference or event, date.
Invited performance or peer-reviewed show wherein performance or artistic work is accepted – 2 points
Being invited to perform a recital by a colleague at another institution does not qualify.
Documentation: type of performance, peer-review information.
Publication of a chapter(s) in a book – 2 points
Documentation: title of book and chapter(s), publication information.
Editor of a scholarly book – 2 points
Documentation: title of book, publication information.
Publication of a monograph by a reputable publisher or professional organization – 1.5 points
Documentation: title, publication information
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Publication of a peer reviewed journal article in a regional venue (does not include conference
proceedings) – 2 points
Regional indicates professional significance and scope not geographic location. Documentation:
journal article title, journal name, publication information.
On-campus full faculty recital – 2 points
Documentation: date and location of recital
Invited performer at an all-state festival – 2 points
Documentation: nature of performance, all-state festival name and location, date.
Adjudication of a national/international competition – 2 points
National/international indicates professional significance and scope not geographic location.
Also, preliminary qualifying parts of the competition, such as would occur on a regional level, do
not qualify for points under this item. Documentation: name of competition, type of
adjudication, location and date.
Collaborative accompanying of a full-length recital – 2 points
Documentation: name of collaborative performer, date and location of recital.
Soloist with university ensemble – 2 points
Documentation: name of musical composition performed, ensemble name, date and location of
concert.
Competitive, minor, Sponsored Projects approved external grant award (10-25k) – 1.5 points
Documentation: name of sponsored project, grant award amount, date
Editor of a regional/national, peer-reviewed journal – 2 points
Regional/national indicates professional significance and scope not geographic location.
Documentation: name of journal, publication information including frequency.
Article-length liner notes for a recording – 2 points
Documentation: name of recording, date of recording release
An equivalent professional or scholarly activity
96
Documentation: name and date of the activity, justification for equivalence- i.e., how is the
proposed activity equivalent to the other items listed in this category in terms of professional
significance and/or work required?
Category C: Lower-level contributions (.5 to 1.0 pt. each)
Publication in a peer reviewed state-level journal – 1 point
Documentation: name of article, name of journal, publication information
Publication of a Book Review- .5 point
Documentation: book information, professional publication information including date
Delivery of a peer-reviewed, state-level conference paper – 1 point
Documentation: name of paper, name of conference and sponsoring professional organization,
location and date.
Editor of state/regional journal – 1 point
Documentation: name of journal, name of professional organization publisher, publication
frequency.
Membership and major contribution on an editorial board- .5 point
Documentation: name of editorial board, name of professional sponsoring organization or
publisher, statement of contribution.
Submission of an unfunded Sponsored Projects approved, external grant - .5 point
Documentation: name of project, date of submission.
Awarded internal university level competitive grant – 1 point
Documentation: name of project, date of award
Summer stipend awarded – 1 point
Documentation: name of project, date of award
Officially assigned and actively engaged as a faculty mentor – 1 point
Documentation: Name(s) of faculty mentored.
Adjudication of a state/local competition- .5 point
Documentation: name of professional sponsoring organization, date of competition
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Collaborative work on recording project – 1 point
Documentation: short description of project and professional nature of the project, date of the
project
Chamber Performance of new repertoire – 1 points per program (if not receiving ACEs)
For faculty receiving ACEs for a faculty chamber ensemble, the School of Music DWE
(Department Workload Equivalents) document contains the following statement: “Each
ensemble will rehearse a minimum of two hours per week, perform once a year in the Faculty
Chamber Music series, provide other incidental performances as appropriate, and schedule
performance tours of high schools for recruitment once a semester.”
Documentation: short statement that indicates date of the program, location, and how this
program exceeds the requirements in the DWE statement.
Composition commission from regional/national/international entity – 1 points
Regional/national/international indicates professional significance and scope not geographic
location. Documentation: name of commissioning entity, date of commission.
Adjudication of a regional competition – 1 points
Regional indicates professional significance and scope not geographic location. Documentation:
name of professional sponsoring organization, date and location of competition.
Regional master classes, presentations or composers forum – 1 point
Regional indicates professional significance and scope not geographic location. Documentation:
name of professional sponsoring organization, date and location of the event.
Conductor of district/conference state level – 1 point
Documentation: name of professional sponsoring organization, date and location of the event.
Participating on a panel (if organized/submitted panel, or served as reviewer/respondent to multiple
papers) - .5 to 1 point
Documentation: statement of scope of responsibility, name of panel and conference, date and
location.
Regional orchestra activity – principal/concertmaster 1 point; conductor 2 points; assistant principal .5
point; associate concertmaster/principal/conductor .5 point
Regional orchestra indicates a level of professional significance and a formally constitute
professional organization that has a board of directors. A self-produced and controlled
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performing organization does not fit under this particular item. The points listed above are for
an entire year not each performance.
Documentation: name of regional orchestra, nature of professional involvement, dates of
performances.
Creation of a website – 1 point
Documentation: professional nature of the website, date created
An equivalent professional or scholarly activity
Documentation: name and date of the activity, justification for equivalence- i.e., how is the
proposed activity equivalent to the other items listed in this category in terms of professional
significance and/or work required?
Service Activities (minimum of 8 points required)
Category A: (2.5 to 3.0 pts. each)
Chair of a major University Council/Committee that meets one-to-two times per month
(examples: Graduate Council, CGE, etc.) – 3 points
Documentation: name of council/committee and information regarding meeting schedule.
Vice-Chair or Secretary of Faculty Senate or Vice-Chair of CAGAS – 2.5 points
Documentation: indication of position.
Significant leadership position in one’s professional organization – 3 points
Documentation: name of professional organization and short explanation of significant
leadership.
Summer Camp Directors – 3 points per camp (if no other payment)
If payment occurs and is donated back to the camp, PAA points will be assigned. Documentation:
name and dates of camp.
Equivalent service activity
Documentation: name and date of the activity, justification for equivalence- i.e., how is the
proposed activity equivalent to the other items listed in this category in terms of professional
significance and/or work required?
99
Category B: (1.5 to 2.0 pts. each)
Member of Faculty Senate – 2 points
Documentation: statement of membership.
Member of a major University Council that meets at least one-to-two times a month (Graduate Council,
CAGAS, CCPI, UPC, or CGE) – 2 points
Documentation: Documentation: name of council/committee and information regarding
meeting schedule.
Chair of search committee – 2 points
Documentation: name of position search
Chair, Music Personnel Committee- 2-3 points (dependent on number of applicants)
Documentation: statement of chairmanship and indication of number of applicants by category.
Chair, active department/college committee (meets at least one-to-two times a month) – 2 points
Documentation: name of committee and information regarding meeting schedule.
Summer Camp Teaching – 2 points per camp (if no other payment)
If payment occurs and is donated back to the camp, PAA points will be assigned. Documentation:
name and dates of camp.
Summer Graduate Workshop Teaching (if no other payment) – 2 points per workshop
If payment occurs and is donated back to the workshop budget, PAA points will be assigned.
Documentation: name of the workshop(s) and dates.
Equivalent service activity
Documentation: name and date of the activity, justification for equivalence- i.e., how is
the proposed activity equivalent to the other items listed in this category in terms of professional
significance and/or work required?
Category C: (.5 to 1.0 pt. each)
Member, UPI Negotiating Team or UPI Executive Committee (if not already receiving ACEs) – 1 point
Documentation: statement of membership
Member, search committee for University President or Provost/Academic Vice President – 1 point
100
Documentation: committee name and dates served
Member of Faculty Senate ad-hoc committee if meets at least once a month for full year (examples:
Distance Learning ad-hoc committee, Foreign Language/Global Issues Committee, GERC, Online Course
Information Implementation Committee, etc.) – 1 point
Documentation: name of committee and information regarding meeting schedule.
Member of other standing Faculty Senate Committees/Councils (or university committees) that meet less
regularly than one-or-two times a month (examples: WID, CIA, CCPU, CIE, COC, Committee on President
and Provost Performance, etc.) - .5 point
Documentation: name of committee(s) and information regarding meeting schedule
Chair of standing department committee – 1 point
Documentation: name of committee
Chair, College Personnel Committee – 1 point
Documentation: statement of chairmanship
Officially assigned and actively engaged as faculty mentor – 1 point
Can be counted here or in Scholarly/Professional, but not both. Documentation: names of
faculty mentored.
Advisor, student organization - .5 point
Student organization should be officially recognized by Student Activities. Faculty member should
be listed officially in the Music Faculty Handbook as an advisor for the organization either as a result of
assignment by the School of Music Director and/or vote of the students in the
organization.
Documentation: name of student organization.
Member, standing/active, time intensive department or college committee that meets regularly - .5 to 1
point
Some ACE assignments, e.g., Area Coordinator, Director of Ensemble Area, Graduate Coordinator,
require membership on certain committees as part of the duties and
responsibilities for that
particular ACE assignment. Please refer to the Music Faculty Handbook for those job descriptions.
Documentation: name of committee(s) and information regarding meeting schedule.
Non-juried presentation or workshop - .5 point
Can’t be double-counted under another item such as recruiting.
Documentation: name of sponsoring professional organization, date and location of
or workshop.
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presentation
Classroom Observations of Peer Teaching - .5 for 5 observations
Documentation: name(s) of faculty observed and dates of observations.
School of Music website maintenance/updating – 1 point
Documentation: information on nature and frequency of maintenance/updating.
Area website maintenance (continual updates each semester) - .5 points
Documentation: name of website, information on nature and frequency of
maintenance/updating.
Recruiting that requires effort throughout the entire year (if not receiving ACEs) – 1 point
Can’t be double-counted under another item such as Non-juried presentation or workshop.
Documentation: short summary of recruiting activities and successes for the year.
Equivalent service activity
Documentation: name and date of the activity, justification for equivalence- i.e., how is he
proposed activity equivalent to the other items listed in this category in terms of professional
significance and/or work required?
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School of Music
Professional Achievement Award
School PAA Activities Document
Name_______________________________________________________________
Year_________________
Department__________________________________________________________
Teaching/Primary Duties (minimum of 8 points required for PAA)
Faculty must have received a rating (on the most recent retention, promotion, tenure, or four-year
appraisal evaluation)
that meets tenure requirements in Teaching/Primary Duties in order to be eligible to apply for a PAA.
Assigned Duties (duties for which one receives ACEs)
 1 pt. earned for each ACE over 18 in an academic year
Note: Teaching assignments over 18 ACEs and any non-teaching or other Primary Duties for which one
receives ACEs will fall under this area.
Unassigned Duties (duties for which one doesn’t receive ACEs)

Departmental Independent Study/Readings - .5 points per 3 sh hours completed. Can be rolled
over across years to accumulate.

Undergraduate research supervision of projects presented and completed (URD) – 1 point




Honor’s thesis advised and completed – 1 point
Honor’s recital—.5 for honors recital program notes
Student research (adjudicated scholarship, performance, creative activity) advised and
presented off campus – 1 point
Graduate Thesis Committee Chairperson, upon completion – 3 points


Graduate Project Committee Chairperson, upon completion – 2 points
Graduate Thesis/Project Committee Member, upon completion - .5 point

For serving on a doctoral dissertation committee – 1 points

Development of an online course (in addition to ACEs) – 3 points

FYE faculty who work with peer mentors receive .5 points for every two peer mentors
supervised

Development of an approved/fully delivered course (not online) – 1-3 points (based on time
and effort)

Undergraduate Advising – 1 point per 17 students



Graduate Advising – 10-19 students/1 points; .5 point for every 10 additional students
Bringing in guest artist – .5 points for single event (up to 1 pt. a year)
Organizing and supervising field trip -- .5 per trip
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
Supervising/directing non-credit ensembles and performances – 1 point

Coaching sectionals beyond the applied studio -- .5 (four or more)

Supervising a performance by an ensemble – 1 point (regional); 2 points (national);
3 points (international)

Major innovation in use of Technology – 1 point

The first week’s substitution for an absent colleague in a course — 0.5 pt.


Taking a class directly relevant to faculty member with prior approval of Director of School
of Music – 1 point
0.5 pt. for 2 in-class honors — can be rolled over across years to accumulate

Professional Development -- .5 for 5 workshops

Enhanced Teaching Performance ( see appendix) – 1 point

An equivalent teaching/primary duty
Total .........................................................................................................................
Note: If activities overlap, the faculty member shall receive points in only one area. Points are only
awarded for unassigned duties if ACEs are not given.
Scholarly/Professional Activities (minimum of 8 points required for PAA)
Category A: Higher-level contributions (2.5 to 3.0 pts. each)

Publication of a Book by a university press, national publisher which is scholarly and
peer reviewed – 3 points

Publication of a peer-reviewed journal article in a national/equivalent venue – 3 points

Publication of a college level textbook by recognized publisher – 3 points

Publication of composition, arrangement, transcription by recognized publisher —3 points

Recipient of national/international scholarly/professional/creative activities award – 3 points

Competitive, major, Sponsored Projects approved external grant award (above $25,000)– 2.5
points

Full length recording as performer or composer (peer reviewed) – 3 points

Performance or other artistic achievement in invited or peer-reviewed national/equivalent
venue—3 points
Invited performer, conductor, or artist-teacher at national/international music festival
(residence)3 pts


Extended guest residency (more than 2 days) – 3 points

An equivalent scholarly/professional activity
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Category B: Moderate-level contributions (1.5 to 2.0 pts. each)

Delivery of a peer reviewed presentation (international, national or regional) – 2 points

Invited performance or peer-reviewed show wherein performance or artistic work is accepted –
2 points

Publication of a chapter(s) in a book – 2 points

Editor of a scholarly book – 2 points

Publication of a monograph by a reputable publisher or professional organization – 1.5 points

Publication of a peer reviewed journal article in a regional venue (does not include
conference proceedings) – 2 points


On-campus full faculty recital—2 points
Invited performer at an all-state festival – 2 points


Adjudication of a national/international competition – 2 points
Collaborative accompanying of a full-length recital – 2 points

Soloist with university ensemble – 2 points

Competitive, minor, Sponsored Projects approved external grant award (10 – 25k) – 1.5 points

Editor of a regional/national, peer-reviewed journal -- 2 points

Article-length liner notes for a recording – 2 points

An equivalent professional or scholarly activity
Category C: Lower- level contributions (.5 to 1.0 pt. each)

Publication in a peer reviewed state-level journal – 1 point

Publication of a Book Review -- .5 point

Delivery of a peer-reviewed, state-level conference paper – 1 point

Editor of state/regional journal – 1 point

Membership and major contribution on an editorial board -- .5 point

Submission of an unfunded Sponsored Projects approved, external grant --.5 points

Awarded internal university level competitive grant – 1 point

Summer stipend awarded – 1 point

Officially assigned and actively engaged as a faculty mentor – 1 point

Adjudication of a state/local competition – .5 point
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
Collaborative work on recording project – 1 point

Chamber Performance of new repertoire – 1 points per program (if not receiving ACEs)

Composition commission from regional/national/international entity – 1 points


Adjudication of a regional competition – 1 points
Regional master classes, presentations or composers forum – 1 point

Conductor of district/conference state level – 1 point


Participating on a panel (if organized/submitted panel, or served as reviewer/respondent
to multiple papers) – .5-1 point
Regional orchestra activity – principal/concertmaster 1 point; conductor 2 points;
assistant principal .5 point; associate concertmaster/principal/conductor .5 point
Creation of a website – 1 point

An equivalent professional or scholarly activity

Total ...........................................................................................................................
Note: Scholarly/Professional Activity that is performed with others, such as a co-written publication,
may be awarded pro-rated points. The faculty member shall propose the appropriate number of points
and justify it to the DPC chair, department chair, and dean who will make the final determination.
Service Activities (minimum of 8 points required)
Category A: (2.5 to 3.0 pts. each)

Chair of a major University Council/Committee that meets one-to-two times per month
(examples: Graduate Council, CGE, etc.) -- 3 points

Vice-Chair or Secretary of Faculty Senate or Vice-Chair of CAGAS -- 2.5 points

Significant leadership position in one’s professional organization – 3 points


Summer Camp Directors—3 points per camp (if no other payment)
Equivalent service activity
Category B: (1.5 to 2.0 pts. each)


Member of Faculty Senate -- 2 points
Member of a major University Council that meets at least one-to-two times a month
(Graduate Council, CAGAS, CCPI, UPC , or CGE) -- 2 points

Chair of search committee – 2 points

Chair, Music Personnel Committee – 2-3 points (dependent on number of applicants)
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
Chair, active department/college committee (meets at least one-to-two times a month) – 2
points

Summer Camp Teaching—2 points per camp (if no other payment)

Summer Graduate Workshop Teaching (if no other payment) —2 points per workshop Equivalent
service activity
Category C: (.5 to 1.0 pt. each)

Member, UPI Negotiating Team or UPI Executive Committee (if not already
receiving ACEs -- 1 point

Member, Search Committee for University President or Provost/Academic Vice President --1
point

Member of Faculty Senate ad-hoc committee if meets at least once a month for full year
(examples: Distance Learning ad-hoc committee, Foreign Language/Global Issues Committee,
GERC, Online Course Information Implementation Committee, etc.) -- 1 point

Member of other standing Faculty Senate Committees/Councils (or University Committees)
that meet less regularly than one-or-two times a month (examples: WID, CIA, CCPU CIE, COC,
Committee on President and Provost Performance, etc.) --.5 point

Chair of standing department committee – 1 point

Chair, College Personnel Committee – 1 point

Officially assigned and actively engaged as faculty mentor – 1 point

Advisor, student organization -- .5 point

Member, standing/ active, time intensive department or college committee
that meets regularly -- .5 to 1point

Non-juried presentation or workshop -- .5 point

Classroom Observations of Peer Teaching -- .5 for 5 observations

School of Music website maintenance/updating – 1 point

Area website maintenance (continual updates each semester – .5 points

Recruiting that requires effort throughout the entire year (if not receiving ACEs) – 1 point

Equivalent service activity
Total ...........................................................................................................................
Note:

All points listed are “per year” and should be pro-rated for semester activity
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

Every department, college, and university committee cannot be listed and so “equivalent
service activity” allows the faculty member to request points for such service. It is expected
that chairs of committees receive credit however members should only receive points if the
service was time intensive (ex. service on a grade appeal committee that doesn’t meet or
meets once or twice a year should not result in the awarding of points).
With the exception of the CPC chair, Curriculum College Committee chair, and Grade Appeals
College Committee Chair, service activities that overlap shall receive points in only one area.
Bonus Points
Points earned for activities listed in the Bonus Points category may be applied to meet the minimum
number of points required in the appropriate area(s) of responsibility (Teaching/Primary Duties,
Scholarly/Professional Activities, or Service Activities). So, bonus points for activities performed in
the appropriate area (as determined by the faculty member, department chair, and DPC chair) may
be used to meet or exceed the 8-point requirement in the appropriate area(s) of responsibility listed
above. These points may be awarded for an activity not listed under Teaching/Primary Duties,
Scholarly/Professional Activities, or Service Activities, or they may be additional points given for
extraordinary performance. Under Bonus Points, a faculty member who receives ACEs may also
receive points based on the level of responsibility or for a major contribution.
Bonus points can be earned for exceptional performance in the following areas:

Additional points for the publication of major book or exceptional artistic recognition – 1-5
points

Additional points for the recipient of a major grant – 1-3 points

Distinguished Faculty Lecturer -- 8 points

University or College Excellence Award -- 4 points

Additional points for service wherein one receives ACEs (Chair, Faculty Senate; Chair, CAGAS;
Chapter President, UPI; Chair, CCPI; Director, CITR;
Associate Director, Honors) -- 2 points

Significant recognition, honor, award in any of the three areas -- .5-3 points
Total…………………………………………………………………………………....………………… ...............................
Overload Points
Faculty may choose to count ACEs over 22 as “points” rather than overload.




________________________________________________________________________________
________________________________________________________________________________
________________________________________________________________________________
________________________________________________________________________________
Total .................................................................................................................
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Total Points to date:
Accumulated
in Past Years
This Year
New
Totals
Teaching/Primary Duties
Scholarly/Professional
Activities
Service Activities
Bonus Points
Overload Points
Grand Total……………………………………………………………………………………………..
Department Chair _______________________
DPC Chair _______________________
Dean ______________________
Appendix
Definition of Enhanced Teaching Performance:
Enhanced Teaching Performance can be demonstrated by “a” below in conjunction with “b” or “c”:
a. High student evaluations, where courses meet the following thresholds for two or more courses
in a semester or for one course in a semester that constitutes at least 50% of the assigned
teaching load:
i. General Education courses (mean greater than or equal to 4.0)
ii. Major courses (mean greater than or equal to 4.3)
iii. Ensembles and applied courses (mean greater than or equal to 4.6)
b. Strong peer observations (for one or more courses, if the observation report includes the
statement, “This observed teaching meets the standard for School of Music PAA points.”)
i. At least three observations by one observer
ii. At least two observations by two or more observers
c. Strong peer course content evaluation (for one or more courses, if the evaluation report
includes the statement, “The evaluated course content meets the standard for School of Music
PAA points.”)
Documentation shall consist of a list of the activities for which points are being awarded in the
current evaluation period.
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_____
APPENDIX V
ACCOMPANIST GUIDELINES
Western Illinois University
School of Music
PRIORITIES FOR ASSIGNING ACCOMPANISTS
1. Degree Recitals
2. Ensembles and Opera
Concert Choir
Opera
Orchestra
University Singers
Wind Ensemble
3. Instrumental and Vocal applied (Performance)majors
4. All other music majors
5. Non-degree recitals – music majors
6. Non-required applied students
7. Non-music major recitals
For faculty and student accompanist needs not addressed above, the recommended rate for
an accompanist is $30 per hour. However, each individual and accompanist is free to
negotiate rates.
ACCOMPANIST ASSIGNMENTS
Studio faculty submit accompanist requests (including literature list) for registered students
in their respective studios by Friday of the 2nd week of classes each semester.
Fall semester, if needed, faculty will have until the end of the 3rd week of classes to submit
information for new students (freshman and transfers).
Generally faculty and students will be notified of accompanist assignments by
rd
Wednesday of the 3 week of classes.
Requests to accompany recitals occurring during the first 8 weeks of a semester must
be submitted the previous semester.
The number of accompanist hours assigned per student will vary depending on several factors
including but not limited to the number of hours requested by the faculty member, the priority
order stated above, student applied year, degree program, music difficulty, and whether or not a
recital is being presented that semester.
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SCORE SUBMISSION
Instrumental & Vocal students: No later than Friday of the 3
rd
week of classes.
Recitals: At least 8 weeks before the scheduled date of the recital or Friday of the 3
Week of classes whichever comes first.
rd
REHEARSAL SCHEDULING
Scheduling must occur at least 2 weeks before the first rehearsal.
Students giving recitals should contact their pianist no later than six weeks before the recital
date to plan rehearsals.
Students should contact their pianist no later than the end of the third week of classes to
schedule rehearsals, lessons, and studio classes for the semester. The accompanist and/or the
student’s applied teacher can guide the student with regard to the number of rehearsals and
lessons needed for a particular assignment.
REHEARSAL PREPARATION
Both soloist and accompanist are expected to attend rehearsals with music well prepared.
The accompanist will help students explore musical ideas that will help the ensemble and
correct mistakes; however, it is not the accompanist’s responsibility to teach notes, rhythm, or
diction.
CANCELLATION POLICY
The following will result in the loss of School of Music sponsored accompanist use for the
offending student for at least one semester.
•
•
•
Failure to follow these policies or procedures
Failure 2 times to give 24 hour notice to cancel/reschedule
Emergency cancellations due to illness or extenuating circumstances will be
handed on an individual basis. However, two emergency cancellations equals
one regular cancellation without minimum 24 hour notice.
Revised 8/19/15 tlf
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