Radford University Department of Music. Music Student Handbook

Transcription

1 Policies and Procedures Radford University Department of Music Music Student Handbook This handbook has been compiled for Music Majors in the College of Visual and Performing Arts at Radford University. It is intended to provide information about policies and procedures of the Department of Music which may not be stated in other sources. Audition and Testing Requirements All prospective undergraduate music majors are initially admitted as provisional music majors. Prior to matriculation all applicants must: a) demonstrate their music performance ability through presentation of an entrance audition. b) demonstrate their basic knowledge of music by taking a music fundamentals test before beginning the study of Music Theory. Both the entrance audition and the music fundamentals test are administered the third Monday of January, the last Saturday in February and the beginning of each semester. All prospective freshmen who present an entrance audition before March 15th are eligible to be considered for an Arts Society Music Scholarship. Prior to acceptance as a major in an undergraduate music degree program each applicant must: 1. demonstrate performance ability sufficient for placement into First Year Applied Music; and 2. successfully complete the first semester of Music Theory and the first semester of Ear-training and Sight-singing Il Teatro La Fenice (1792) Venezia, Italy Auditions for entrance and scholarship consideration are administered on the third Monday of January and the last Saturday of February. An audition appointment can be scheduled by returning an Audition Request Form to the Department of Music office. If circumstances prevent the presentation of a campus audition on either of these dates, an appointment on an alternative date may be requested or an unedited recording may be submitted. Applicants should prepare for their auditions according to the following

2 guidelines: Voice Prospective voice majors should perform two (2) contrasting pieces from the standard art song/recital repertoire. Memorization is required. One piece should be in a language other than English. Specific repertoire is not required; however, students who wish guidance in choosing appropriate audition material are encouraged to contact Clarity James (cjames@radford.edu) well in advance of their audition date. Auditions are evaluated for quality, potential and musicianship. If a student's accompanist is not able to attend the audition, an accompanist will be provided if advance notice is given. Winds Wind players should prepare at least two (2) contrasting works that demonstrate tone quality, technique and musicality. Performance with an accompanist is optional. In addition, students should be prepared to play all major scales and a chromatic scale. The demonstration of basic sight-reading ability is expected. Students who wish guidance in choosing appropriate audition material are encouraged to contact Al Wojtera (awojtera@radford.edu) well in advance of their audition date. Percussion Percussionists should prepare at least two (2) etudes or solos on either snare drum, keyboard percussion (xylophone, marimba or vibes), timpani, or a combination of these. Students should be able to demonstrate solid snare drum fundamentals and/or keyboard scales and arpeggios. The demonstration of basic sight-reading ability in at least one of these areas is expected. Students who wish guidance in choosing appropriate audition material are encouraged to contact Al Wojtera (awojtera@radford.edu) well in advance of their audition date. Strings String players should prepare two contrasting works or movements that demonstrate tone quality, technique and musicianship. Performance with an accompanist is optional. An accompanist will be provided if advance notice is given. Students who wish guidance in choosing appropriate audition material are encouraged to contact Eugene Fellin (efellin@radford.edu) well in advance of their audition date. Guitar Guitarists should prepare all major scales (two and three octaves with cadences) and two (2) contrasting solos that demonstrate quality of tone, technique and musicality. One piece may be an etude. The demonstration of basic sight-reading ability is expected. Students who would like guidance in choosing appropriate audition materials are encouraged to contact Robert Trent (rstrent@radford.edu) well in advance of their audition date.

3 Keyboard Keyboard students should perform two pieces from two different style periods in the standard classical reperoire. Works by Bach, Handel or Scarlatti (Baroque); Mozart, Haydn or Beethoven (Classical); Chopin Schubert or Schumann (Romantic); and Bartok, Debussy or Kabalevsky (20th-century/Contemporary) are suggested. Memorization is required for pianists but not for organists. The demonstration of basic sight-reading ability is expected. Prospective organ majors should have a strong piano background. Previous organ study is not required and students may audition on piano. Students who would like guidance in choosing appropriate audition materials are encouraged to contact David Phillips (dphillip@radford.edu) well in advance of their audition date.

4 Department of Music Music Performance Level System Revised October 8, 2002 In the Level System of Applied Music Performance, quality of performance is stressed through minimum level requirements for each curriculum and evaluation of student performance by faculty juries. Students may attempt one performance level per two credits of applied music study (three credits for performance majors). The content of each performance area is divided into eight levels (1 through 8) for undergraduate students and two levels (9 and 10) for graduate students. Minimum requirements in technique (including sight reading, general facility, language, care of instrument, reed making, etc.) and repertoire (including requirements in variety, scope, level of difficulty, quantity, etc.), are outlined for each level. Each applied area has indicated specific requirements and representative materials at each level. These requirements are on file in the Music Department office. Successful completion of requirements for each level will be determined by a faculty jury. Jury examinations for Levels 3 and 6 or 7 are considered to be screening juries (Level 4 will be the screening jury for transfer students placed in that level upon admissions). At Level 3 the purpose of the screening jury is to determine the student's progress for successful completion of applied music and music curricular degree requirements. At Levels 6 or 7 (dependent on the highest level required in each degree program or concentration)the purpose of the screening jury is to determine the student's comprehensive grasp of all degree-related music skills and information. Screening juries will include a review of the student's current academic record. General Level Descriptions General level descriptions do not apply to composition. Information on levels in composition may be obtained from the composition faculty. Levels 1 and 2 For students working in levels 1 and 2 the following will be expected at the jury: 1. Fundamentals: a. Tone, hand position posture, breathing, bowing, embouchure, articulation etc. Drills and exercises should be used as appropriate: b. Knowledge of instrument, including terminology about instrument, nature of instrument and its function, care, etc. 2. Technical Facility: Demonstration of basic skills such as accuracy, control, articulation, etc. All areas are to be fundamentally correct. Further refinement is expected to continue throughout further study. This area may be demonstrated through exercises, scales, arpeggios, vocalizes, etc.

5 3. Repertoire: Ten minutes of performance-ready material per level, including at least one solo repertoire selection, is to be presented at the jury. Technical studies may be included. 4. Sight Reading: Sight reading at an appropriate level of difficulty will be required at the jury. See details below pertaining to sight reading. Levels 3 and 4 Levels 3 and 4 represent an emphasis on expansion of technique and repertoire. At the jury the student is to present fifteen minutes of performance-ready material, including at least ten minutes of repertoire and five minutes of technical studies. Each applied area states technical requirements in specific terms. Sight reading continues as in levels 1 and 2. Levels 5 through 8 At each of levels 5 through 8, the student will present to the jury a minimum of twenty minutes of performance- ready music. Orchestral excerpts, etudes, transcriptions, and chamber music may be included in addition to solo literature. The twenty minutes of performance-ready music (not limited to solo repertoire) shall include at least one selection from each of the following periods: 1. Baroque or earlier 2. Pre-classic through Beethoven 3. Romantic through impressionistic periods 4. Twentieth century, must include some music in nontraditional idioms Exception: It is expected that a student will normally present one selection from each of the periods listed above for each of levels 5 through 8. However, when deemed appropriate by the teacher, varying combinations of periods may be included in a given level. Regardless of the arrangement, by the conclusion of levels 5 and 8 a student should have performed at least 2 selections from each period Exercises and technical studies are to be included as determined by the applied area jury or by the individual teacher. Sight reading is to be pursued regularly and the student should expect to sight read at the jury. See Sight Reading section below for details pertaining to sight reading. By level 8 the student should have at least one chamber music* experience (Chamber music is defined as compositions where all parts are of equal

6 importance.). The individual part may be coached by the applied teacher. The group will be under faculty direction. The composition may or may not be included in the repertoire requirement. The chamber ensemble may consist of any combination of instruments and voices, but with only one person per part. Levels 9 and 10 Levels 9 and 10 represent studies in depth. Although basic technical skills are to be fundamentally established by the completion of level 8, their refinement should continue in levels 9 and 10. During levels 9 and 10, the student is to present a minimum of 20 minutes of performance-ready music from each of the following periods: 1. Baroque or earlier 2. Pre-classic through Beethoven 3. Romantic through Impressionistic periods 4. Twentieth century, must include some music in non-traditional idioms Exception: In those instruments which do not have ample repertoire for each period, adjustments in the amount of repertoire represented by each period may be made. Such adjustment will be reflected in the descriptions for those instruments. The total time required, regardless of adjustment, remains unchanged. Exception: In the case of certain voice majors, specialization in a particular area may be desirable. With permission of the jury, a student may reduce the time requirement in one or two areas, applying that time to the area of specialization. This distribution of material will be for exceptional students only, and when the request is made, the student will present a proposed program of study. The representation of each period by a variety of composers is encouraged. The degree of difficulty of all music must be beyond that represented by level 8. During levels 9 and 10 the student is expected to prepare a major concerto; a major sonata; and a chamber experience as described for levels 5 through 8. These specific requirements may be associated with any period or level. Sight reading is to be pursued regularly, and the student should expect to sight read at each jury. See Sight Reading section below for details pertaining to sight reading. Memorization Memorization requirements for each performance area are specified by the applied area involved.

7 Exception: Normally material is only used once in fulfillment of level requirements. With permission from the jury chairman, a small portion of previously unmemorized material may be repeated on a subsequent level when memorized. The provision applies to levels 5 through 8, primarily in the level of large multi-movement works. Sight Reading The development of essential sight reading skills is an overall Department responsibility shared by the applied music area. Sight reading applied with performance lessons should be approached as flexibly as possible. The use of duets, new repertoire not to be perfected, traditional exercises, and reading of repertoire under controlled time may be suitable methods. The following specifics govern sight reading as related to music performance: A. Sight reading will take place in levels 1 through 10. B. Sight reading will be heard during the regular jury and will be considered by each juror in the grade, but not for a particular percentage. C. In general, sight reading material will be approximately two levels less than the level attempted. D. Students who continue to be unsuccessful in sight reading after level 4 will be counseled regarding their lack of skill in sight reading. In some cases private study for sight reading purposes only will be recommended.. E. Copies of sight reading materials are available to jurors. F. Sight reading materials are selected by members of the applied area involved. Recital Requirements A. At levels 4 through 8 or 10 each student is required to perform on one departmental recital per level. Students who are required to perform in a Departmental Recital would also be highly recommended to perform the same music successfully in an individual or joint studio performance class prior to their performance in a Departmental Recital. B. Students in levels 1 through 3 are encouraged but not required to perform on a departmental recital. Students who are not required but wish to perform in a Departmental Recital must demonstrate their ability to perform successfully to the applied teacher. These students would also be highly recommended to perform the same music successfully in an individual or joint studio performance

8 class prior to their performance in a Departmental Recital. C. Department Recital schedules and performer lists are announced at the beginning of each semester. Students on the lists may exchange performance dates with other performers. IT IS THE STUDENT'S RESPONSIBILITY to submit program copy in a timely manner. Approval of the instructor is required. D. Students MUST fulfill the departmental recital requirements before taking the jury examination for that level (failure to meet the recital requirement may not be used as a reason for a grade of "I" - incomplete). E. Studio recitals MAY NOT be used to fulfill the departmental recital requirement. F. Half and Full Recitals: 1. A half recital is defined as including 25 minutes of music. A full recital is defined as including fifty minutes of music. 2. Recitals presented for credit MAY NOT BE USED in lieu of taking a level examination. 3. A half recital for credit may be presented after level 6 is completed. A full recital is required for the B.M. Concentrations in Piano, Guitar and Composition. 4. Non-credit recitals may be presented at any time at the discretion of the teacher and the student. Procedures A. All music majors and music performance minors are required to participate in the level system. Non-majors may elect participation. B. All students participating in the level system must present an entrance audition for placement purposes. C. Only students placed in Music 171 may begin work toward level advancement. All entering Freshmen who qualify for the Level System are placed in Level I. Transfer students may be placed in Music 171, 172, 271, or 273 on the basis of the entrance audition and applied hours acceptable as transfer credit. D. Students enrolled in applied major study proceed at the rate of two (2) credits per semester (three credits for performance majors). Students enrolled in applied minor study may proceed at the rate of one (1) or two (2) credits per semester.

9 E. Registration: The student registers for major and/or minor study each semester. F. Students may obtain repertoire sheets in the Department Office. This form should be completed and brought by the student to the jury. G. At any level,but especially at the lower levels, it is possible that a student will be playing at a more advanced repertoire level than the minimum difficulty requirements for the level. H. Level Advancement: Students may pass levels at two scheduled times per year. Students must appear before a faculty jury for advancement in level. J. At the jury for advancement in level, the performance of repertoire is considered as a performance and will be assessed as a performance. K. Students may attempt one performance level per two credits of applied music study (three credits for performance majors). L. A student enrolled in applied major study must perform a minimum of one jury per year. M. A student enrolled in minor study for one semester hour credit should complete two semesters before attempting level advancement. Students registered for one (1) credit may receive a temporary grade of "IP" for one semester preceding each level advancement jury. Should a student enrolled in minor study complete the level requirement prior to completion of the credit requirement, a jury performance becomes optional and the student may receive a letter grade without level advancement for the remaining required credits. N. The decision to perform a jury should be made jointly by teacher and student. The faculty member may encourage a reluctant student to perform, or may advise a student against taking a jury if it is in the student's best interest not to perform. The decision must be made and communicated to the Department Chairman at least four weeks before the last day of classes for the semester. O. When completing a semester without attempting a level, the student receives a grade of P or F and no credit is earned toward fulfillment of level requirements. P. A student may not perform a jury if the applied teacher informs the student of a failing grade (F) for the current semester lessons, prior to the scheduled time for juries. The student shall receive a final grade of "F" for the semester. Q. The final grade for the semester is given at the jury. Two credits (three credits for performance majors) may be earned for each level passed.

10 R. The registration of a student for a jury and the appearance of a student before a jury is a commitment that a letter grade will be received. The P/F option is not possible in such a case. S. Once registered for a jury, the student is committed to perform. Thereafter, a student may withdraw for emergency reasons only. Composition of Applied Juries Piano Voice Organ Instrumental Guitar Strings Composition All piano faculty All voice faculty All organ faculty plus one member of the piano faculty All wind and percussion faculty All guitar faculty All string faculty All composition faculty The Music Department Chairman may serve on all Applied Juries. Should the Dean be a professor of music he/she may participate as a member of all juries. Composition of Screening Juries In addition to the regular Applied Jury (above) Screening Juries will include all jury chairmen, the student's academic advisor and the Music Department Chairman. All Music faculty are invited to attend.

11 1 Radford University College of Visual and Performing Arts Department of Music Style Guide for Recital Programs This guide is intended as a resource to assist students in the preparation and submission of appropriate information for recital programs. When compiling the written information, it is important to keep in mind that an accurate and appropriately detailed program enhances the listening experience for the audience. The program provides the listener not only with the name of the work and the composer, but also other important points of reference, including information that places a work in its particular time period and within a composer s own body of works. The following guidelines and examples represent a variety of genres and show the required format for capitalizations, use of italics, punctuation, and abbreviations. I. Composers Use full names for composers and list applicable birth and death dates in parentheses under name. For living composers, omit parentheses. Johann Sebastian Bach John Corigliano ( ) b If a work has been adapted, arranged, or transcribed, include both the name and dates of the composer and the adapter/arranger/transcriber. Allegro From Old American Songs (1950) John Smith, alto saxophone Jane Smith, piano Joseph Hector Fiocco ( ) trans. Sigurd Rascher ( ) adapted by Aaron Copland Long Time Ago ( ) Simple Gifts II. Performers John Smith, tenor Jane Smith, piano List performers names with soloist first, followed by instrument or voice type in smallcase letters (see above).

12 2 III. Titles Instrumental literature Titles such as Sonata, Toccata, or Prelude and Fugue are usually capitalized and not italicized. Include the key of the work, opus numbers and/or catalogue number, and the movements to be performed. Movements are indented under the title, single spaced and include numbers. Major keys are capitalized and minor keys are in small case; flat and sharp use a hyphen and are spelled. Catalogue and opus number are abbreviated and capitalized. Retain all foreign symbols. Students may check The New Grove Dictionary of Music and Musicians (on-line or in the RU Library) for title and catalogue information. The website below can also be a helpful resource: Examples: Sonata in B-flat Major, K. 281 Wolfgang Amadeus Mozart I. Allegro moderato ( ) II. Andante amoroso III. Allegro Nocturne in g minor, Op. 15, No. 2 Frédéric Chopin ( ) Performing one or more movements from a larger work: Sonata No. 62 in E-flat Major, Hob. XVI:52 Franz Joseph Haydn III. Finale: Presto ( ) Klavierstücke, Op. 118 Johannes Brahms I. Intermezzo in a minor ( ) V. Romance in F Major Concerto in B-flat Major, K. 622 Wolfgang Amadeus Mozart II. Adagio ( ) For works that have no catalogue or opus number, use date of composition in parentheses: Lament (1998) John Doe, alto saxophone Jane Doe, piano Christopher Tilley b. 1970

13 3 Use quotation marks and parentheses for traditional descriptive names: Sonata in f minor, Op. 57 ( Appassionata ) Ludwig van Beethoven ( ) IV. Titles Vocal literature The following examples show a selection of vocal works. Keys and opus numbers are not normally included in song titles. (Students should check with their applied teacher for preferences.) Opus numbers and names of the larger work from which the song comes are used if doing more than one song from a collection. The name of the poet may also be included in parentheses after the song title. Titles of operas, oratorios and cantatas are normally in italics; arias from them use roman type and quotation marks. Titles of song cycles use italics and individual songs are in roman type. Examples: Mandoline (Verlaine) Gabriel Fauré ( ) Jane Smith, soprano John Smith, piano Two or more songs from a cycle: From Dichterliebe, Op. 48 Robert Schumann Im wunderschönen Monat Mai ( ) Ich will meine Seele tauchen Iche grolle nicht Aus alten Märchen winkt es Arias from cantatas, oratorio and opera: Et exultavit spiritus meus in Deo salutari meo Johann Sebastian Bach from Magnificat, BWV 243a ( ) Casta diva from Norma Vincenzo Bellini ( )

14 4 More than one aria: Falstaff Giuseppe Verdi L onore! Ladri! ( ) Tutto nel mondo è burla V. Program Notes/ Translations Vocal Literature Program notes are combined with the summary or translation of the song/aria and should include the first citings of the composer and the name of the song or aria in bold print. Song texts may be paraphrased with three or four sentences summarizing the idea and atmosphere of the poem. (Examples of this may be found in Singer s Repertoire, Part V: Program Notes for the Singer s Repertoire by Berton Coffin and Werner Singer from Scarecrow Press, Inc.). The initials or full name of the author of the program notes and summary are in parentheses at the end. For arias from operas, cite the Act and Scene from which it comes and summarize the action that takes place before and after, including any pertinent storyline information as well as a summary of the aria translation. Year of composition, time and place of opera s premiere can also be included. Arias from oratorio may be similarly summarized. For cantatas, a translation of sacred text is normally used. Another option, instead of summaries/paraphrases, is translation. Translations of poetry should be single spaced (double-spaced between stanzas), using a 10 or 11-point font. Maintain the visual form of the poetic stanzas as much as possible. Cite the title of the poem (in the original language and in translation), and, if applicable, the collection from which the poem comes, the name and dates of the author, and the name of the translator. The following website, containing thousands of classical song texts and translations, is a helpful resource: The Lied and Art Song Text Page Program Notes/Summaries: Examples: Gaetano Donizetti ( ) was one of the brilliant triumvirate (Donizetti, Bellini, Rossini) who were responsible for the development of Italian opera in the first half of the 19 th century. Donizetti was quite prolific, composing sixty-seven operas, but only a handful have remained in the modern repertoire. The Daughter of the Regiment was first performed by the Opéra Comique in Paris in The action takes place in the Swiss

15 5 Tyrol during the Napoloenic wars. In the Marquise s Aria, from the beginning of Act One, the Marquise de Berkenfeld seeks protection from the French invaders, comically complaining of the improprieties and inconveniences of war. (CJ) Summary: Adieu (Farewell) by Gabriel Fauré ( ) speaks of the fickleness of the world - How quickly everything dies. The rose wilts, our sighs disappear in smoke. Our dreams and our hearts change. Even the longest loves are short. So I leave your charms without tears, saying farewell almost at the moment of our beginning. (CJ). Translation: Adieu (Farewell) from Poème d'un jour by Charles Jean Grandmougin ( ) translated by Douglas Watt-Carter Like everything that dies quickly, The blown rose, And the mottled cloaks of The passers-by Long sighs, girl friends, Smoke! One sees in this frivolous world, Change. Quicker than the waves on the beach, Our dreams! Quicker than frost on the flowers, Our hearts! One believes oneself faithful to you, Cruel, But alas! the longest of love affairs, Are short! And I say on quitting your charms, Without tears, Close to the moment of my avowal, Adieu! VI. Program Notes Instrumental Literature Program notes should include the first citings of the name of the piece, the movements and the composer in bold print. The notes should be centered on the piece performed and refrain from too much general information about the life of the composer.

16 6 Examples: The Sonata in B-flat Major, K. 281 belongs to the group of six piano sonatas (K K. 284 ) which date from , a time when Mozart lived in Salzburg and Munich. Mozart frequently performed these sonatas and although he was only in his late teens, they are from the period of his earliest works that have become part of the concert repertoire. These early sonatas demonstrate not only Mozart s ability for assimilating stylistic traits of the time, but also a preoccupation with finding his own personal voice. In this sonata, Mozart has written three movements showing a great diversity of mood, tempo and formal structure. With the first movement, a standard Sonata-Allegro form, Mozart s writing shows the influence of Haydn: a slower tempo marking (Allegro moderato), shorter phrase structures, the juxtaposition of duplet and triplet rhythmic figures, and the use of new material in the development section. In contrast to the first, the second movement shows Mozart s ability for writing long melodic lines that are more vocally conceived. Mozart marks the movement Andante amoroso, an unusual marking for him but one that shows his interest in exploring a different expressive quality of the piano. The third movement is a spirited rondo in which Mozart uses a variety of pianistic effects such as arpeggiated figures, trills and octaves. The Klavierstücke (Piano Pieces), Opus 118 were published in 1893 and are typical of the kind of piano works Brahms was writing during his last years: concise, song-like pieces, highly expressive and of mature musical substance. The Intermezzo in a minor, the first piece from this collection, is built on a single motive. A structurally compact work, it is sometimes referred to as a sonata form in miniature. Brahms characteristic fullness of sound is achieved by widely spaced arpeggiated figures, pedal points in the bass and the doubling of the melodic line in octaves. His use of chromatic harmonies gives a sense of tonal ambiguity, even at the end when the piece finally resolves on an A Major chord.

17 Department of Music Recital Attendance Policy and Certification Procedures Revised October 6, 2004 Music Majors are required to attend all departmental recitals and convocations (on Tuesday afternoons at 4:00 p.m.) as well as ten (10) other approved recitals or concerts each semester. Any exception to the above must be approved by the Department of Music Chairman. This requirement must be met before the student may follow the prescribed applied music level requirements. Students who have not satisfied the requirement for a given semester are not eligible to follow the prescribed jury requirement at the end of the subsequent semester. In order to recieve credit for a departmental recital students must be seated in the center section (between rows A and L) in Preston Hall. Any student sitting outside of this area may not recieve credit for that performance. Recital attendance will only be recorded when documented by a signed certificate collected following each performance. Any exceptions, including credit for off-campus performances, must be approved by student's applied teacher and the Department Chairman. Approved recitals or concerts are limited to those listed on the Department calendar plus those that are approved by the Department Chairman. Unlisted performances submitted for approval must be formal recitals or concerts that are at least equivalent to listed events. Not more than three (3) documented off-campus concerts may be credited toward meeting the requirement for a single semester. Attendance will be credited only for formal recitals or concerts (including opera and dance performances with live music) that are at professional or college level. The intent of the policy is to ensure student exposure to formal performances in accordance with NASM criteria which require that "All Music students must be exposed to a large and varied body of music through attendance at recitals, concerts, operas and other performances." Credit will not be routinely approved for attendance at workshops, master classes, lectures, informal night club venues, etc. A student may not receive credit for a concert or non-departmental recital in which he/she performs (unless it is a very limited portion and is approved by the Department Chairman). Attendance certificates for past concerts or recitals will not be accepted if received in the Department office later than thirty (30) days following the performance date. As many as six performances attended during the summer (three may be used for Spring semester deficiencies and/or three may be used for upcoming Fall semester requirements) must be documented and received no later than September 30th in the Department office.. Petitions for correction of errors in a student's Recital Attendance Record must be received in the Department office not later than January 31st for the previous Fall semester and not later than September 30th for the previous Spring semester. It is the students' responsibility to ascertain, through the use of WebCT, that their Recital Attendance Record is correct at the close of each semester.

18 Recital attendance deficiencies for the previous semester must be certified by the Department of Music office not later than 12:00 noon on the last day of classes. No recital or concert attendance after 12:00 noon on the last class day of the semester may be applied toward satisfying previous semester deficiencies. Absolutely no inquiries will be considered and no adjustments will be made for the previous semester after this deadline.

19 MUSIC Eugene C. Fellin*, Chairperson U N D E R G R A D U AT E P R O G R A M S The undergraduate professional programs in the Department of Music offers opportunities for students to prepare for careers as teachers of music in elementary, middle, and secondary schools; for careers in music therapy, for careers in music business, and for advanced professional graduate study. The undergraduate liberal arts program in the Department of Music offers opportunities for the study of music irrespective of spec i fic career aspirations, for emphases which may meet the needs of individual students, and for preparation to study music at the graduate level. The department provides and promotes music activities for the university and community; and provides instruction and experiences in music for majors and non-majors, enhanced by multi-cultural/global perspectives and the benefits of new t e c h n o l o g y. The Department of Music offers major degree programs at the undergraduate and graduate levels and a minor in music at the undergraduate level. Courses are also open to students whose primary interests are in other fields. Radford University is an accredited institutional member of the National Association of Schools of Music. The curriculum in music therapy, which is in accordance with the recommendations established by the American Music Therapy A s s o c i a t i o n ( A M TA), provides eligibility to take the national certification exam administered by the Certification Board for Music T h e r a p i s t s (CBMT). Students may pursue the music major leading to either a Bachelor of Music with a concentration in music education, music business or music therapy; a Bachelor of Arts; or a Bachelor of Science d e g r e e. Applied Music and Performing Ensembles Private applied music lessons are available to q u a l i fied music majors and non-majors in French horn, violin, viola, cello and string bass at the u n d e rgraduate level; and in flute, oboe, clarinet, bassoon, saxophone, trumpet, trombone, euphonium, tuba, percussion, organ, piano, voice, guitar and composition at both undergraduate and graduate levels. Two-three credits per semester may be earned for a one-hour lesson per week. One credit may be earned for a one-half hour lesson per w e e k.

20 Prior to registration each semester, students must have the approval of the Department of Music chairperson for placement into one of the following courses: MUSC 107. Applied Music. 1-2 MUSC 169:170. Applied Music. 1-2 MUSC 171:172. First Year Applied Music. 1-3 MUSC 271:272. Second Year Applied Music. 1-3 MUSC 371:372. Third Year Applied Music. 1-3 MUSC 471:472. Fourth Year Applied Music. 1-3 Special Note: An applied music instruction fee is charged at the rate of $200 per credit per semest e r. Applied music fees may be waived for level system applied lessons with the approval of the dean of the College of Visual and Performing A r t s for students majoring in music, and students registered for Department of Music ensembles and studying in a performance medium relevant to their ensemble participation. Fee waivers do not apply for MUSC 107, 169, 170, 470 or 670. The following ensembles are open to all qualified music majors and non-majors: MUSC 131. Concert Band. 1 MUSC 134. Jazz Combo. 1 MUSC 145. University Chorus. 1 MUSC 147. Chorale. 1 MUSC 151. Chamber Orchestra. 1 MUSC 431. Wind Ensemble. 1 MUSC 434. Jazz Ensemble. 1 MUSC 435. Percussion Ensemble. 1 MUSC 436. Guitar Ensemble. 1 MUSC 437. Digital Ensemble. 1 MUSC 453. Chamber Music Ensemble. 1 MUSC 455. Madrigal Singers. 1 MUSC 456. Radford Singers. 1 MUSC 457. Opera Wo r k s h o p. 1 MUSC 458. A c c o m p a n y i n g. 1 MUSIC MAJOR All prospective undergraduate music majors are initially admitted as provisional music majors. Prior to acceptance as a major in an underg r a d u- ate music degree program each applicant must: (a) demonstrate through an entrance audition performance ability sufficient for placement into First Year Applied Music; and (b) complete the fir s t semester of First Year Theory (MUSC 111) and the first semester of First Year Ear Training and Sight Singing (MUSC 114) with a grade of C or b e t t e r. Students must be recommended to proceed to Level 1 at their MUSC 170 jury in order to be eligible to remain in the Pre-music (PMUS) major c l a s s i fication. Students not recommended to proceed must change from Pre-music (PMUS) to Premajor (PMAJ) or to any other available majors at the university for which they are eligible. T h e y may repeat MUSC 170 with consent of the instructor as a non-music major. Requirements for retention or acceptance into u nd e rgraduate music major degree programs at the junior level are completion of applied music level four (MUSC 272) in the major area, completion of Second Year Theory and Second Year Ear Tr a i n i n g and Sight-Singing courses with a grade of "C" or better and a cumulative grade point average of 2.5 or higher in all music courses taken at Radford U n i v e r s i t y. Completion of level one in private applied music may be substituted for an applied music class when appropriate. Music majors must enroll in at least one major ensemble each semester (summer sessions and student teaching semesters excepted) until degree requirements for major ensembles are met. No more than one major ensemble per semester may be counted toward degree requirements (transfer students who may graduate in fewer semesters than the number of ensembles required are excepted). Music majors are required to attend all departmental recitals and convocations (on Tuesday afternoons at 4 p.m.) as well as seven other approved recitals or concerts each semester. Any exception to the above must be approved by the chairperson of the Department of Music. This requirement must be met before the student may follow the prescribed applied music level requirements. A cumulative grade point average of 2.5 or above in all music courses taken at Radford University is required for graduation with a baccalaureate degree in music. TRANSFER STUDENTS Atotal of 37 semester hours of required courses may be transferred from another institution as f o l l o w s : Music T h e o r y. 1 2 Ear Training and Sight Singing. 4 First and Second Year Applied Music. 8 Introduction to Music Literature. 3 History of Music. 6 L a rge Ensembles. 4 Transfer students and students with degrees from other institutions seeking teacher licensure in music must take all other major degree requirements in music at Radford University. Exceptions may be granted by the Department of Music with the approval of the dean of the College of Vi s u a l and Performing A r t s. 170

21 Applied Music Performance Level System In the Level System of Applied Music Performance, quality of performance is stressed through minimum level requirements for each curriculum and evaluation of student performance by faculty juries. Students may attempt one performance level per two or three credits of applied music study. The content of each performance area is divided into 8 levels. Minimum requirements in technique (including sight reading, general facility, language, care of instrument, reed making, etc.) and repertoire (including requirements in variety, scope, level of diffic u l t y, quantity, etc.), are outlined for each level. Each applied area has indicated specific requirements and representative materials at each level. These requirements are on file in the Music Department office. Successful completion of requirements for each level will be determined by a faculty jury. Jury examinations for Levels 4, 6, 7 and 8 are considered to be screening juries. At Level 4 the purpose of the screening jury is to determine the s t u d e n t s progress for successful completion of applied music and music curricular degree requirements. At Levels 6, 7, or 8 (dependent on the highest level required in each degree program or concentration) the purpose of the screening jury is to determine the student s comprehensive grasp of all degree-related music skills and information. Screening juries will include a review of the stud e n t s current academic record. Level Requirements in Each Applied Major Level 6 in the applied major is required for all u n d e rgraduate music degrees except for the Bachelor of Music Concentration in Music Education, in which is the requirement is Level 7. Level Requirements in Each Applied Minor Level 2 in the applied minor is required for the Vocal/Choral option in the Bachelor or Music Concentration in Music Education. Completion of this requirement normally takes four semesters. MUSIC MAJOR B.M. Degre e Students pursuing a Bachelor of Music (B.M.) degree select one of the following concentrations: Music Education, with a vocal/choral or instrumental option; Music Therapy; or Music B u s i n e s s. MUSIC EDUCATION CONCENTRATION All requirements for students selecting the Music Education Concentration are outlined b e l o w. The requirements include Music Core courses, Professional Education courses, and course work for one of two options (Vo c a l / C h o r a l or Instrumental). General Education Requirements 50 (see p. 59) Majors are required to take the following courses and are advised to take them as part of their General Education requirements: *MUSC 321, 322. History of Music. 3, 3 *These courses are also part of the Music Core. Music Core 3 7 MUSC 100. Introduction to Music L i t e r a t u r e. 3 MUSC 111 : 11 2 : 2 11:212. Music T h e o r y. 1 2 MUSC 11 4 : 115:214:215. Ear Training and Sight Singing. 4 MUSC 120. Introduction to Music E d u c a t i o n. 1 MUSC 127. Introduction to Computer Music. 3 MUSC 220. Growth and Development of the Music Learner.. 2 MUSC 221. Classroom Instruments. 1 MUSC 321, 322. History of Music. MUSC 354. Introduction to Conducting. 2 MUSC 418. Orchestration and A r r a n g i n g. 3 MUSC 446. Methods and Practicum for General Music. 3 MUSC 459. Methods and Practicum for Performing Ensembles. 3 *These hours are counted in General Education requirements. REQUIREMENTS FOR A D M I S S I O N TO MUSIC TEACHER EDUCATION Prior to taking MUSC 446 and MUSC 459, students must be formally admitted to the Music Teacher Education Program. The requirements for admission are: 1. Successful screening interview before the Music Education faculty. 2 Completion of the following courses with a grade of C or better: All: MUSC 100, 127, 212, 215, 220, 221, Applied Major Level 4 Vocal/Choral: Applied Minor (Voice) Level 1 or MUSC 162 & 297 Instrumental: MUSC 162, 229, 237, 277 &

22 3. College of Education and Human Development Requirements: Completion of 45 semester hours of coursework A minimum 2.5 grade point average on all college work, a 2.5 GPAon work at Radford, and a 2.5 GPAon all work attempted in the m a j o r. Passing scores on the basic skills tests required for licensure by the State of VA. Professional Education 12 EDUC 453. Student Teaching (K-12). 1 2 Prior to student teaching (EDUC 453), music education majors must have completed the following courses with a grade of C or better: All: Applied Major Level 6, MUSC 446 and MUSC 459 Vocal/Choral: Applied Minor (Voice) Level 2 or MUSC 262, 344 & 355 Instrumental: MUSC 346, 356, 360 & 364 The student teaching requirement is 7.5 weeks in an elementary school setting (Kinderg a r t e n through Grades 5 or 6) and 7.5 weeks in a secondary school setting (Grades 6 or 7 through Grade 12). Student teachers are expected to devote the bulk of their time and energies to meeting the commitments of student teaching. Other commitments (work, other university courses, personal responsibilities) are not considered acceptable excuses for failing to fulfill all the requirements of student teaching. If such interference occurs, the student teacher will be given the option of withdrawing from student teaching or making the personal adjustments necessary to give full attention to the program. Students must receive written permission from the Director of Music Education before being permitted to schedule additional coursework during the semester of student teaching. Required Option In addition to the above core courses, all students in the music education concentration must complete one of the two options outlined below: Vocal/Choral Option Requirements 33 Either: Applied Major (Voice, Keyboard Level 7). 14 *MUSC 161:162:261:262. Class Piano 1 : 1 : 1 : 1 MUSC 458. A c c o m p a n y i n g. 1 : 1 O r : Applied Major: Keyboard Level Applied Minor (Vo i c e ) 4 MUSC 216. Keyboard Harmony. 1 MUSC 458. A c c o m p a n y i n g. 1 MUSC 145, 147, 454, 456, and/or MUSC 457. Choral Ensemble. 7 MUSC 297. K-12 Vocal Pedagogy. 1 MUSC 344. Methods and Literature for School C h o i r s. 3 MUSC 355. Choral Conducting. 2 Instrumental Option Requirements Applied Major (Band or Orchestral Instrument Level 7). 1 4 MUSC 131, 133, 151 and/or MUSC MUSC 161:162: Class Piano. 1 : 1 MUSC 229. Percussion Techniques and Methods. (Not required of percussion majors or m i n o r s. ) 0-1 MUSC 237. String Class. 1 MUSC 277. Woodwind Class. 1 MUSC 287. Brass Class. 1 MUSC 346. Methods and Literature for School Bands. 3 MUSC 356. Instrumental Conducting. 2 MUSC 360. Marching Band Te c h n i q u e s. 1 MUSC 364. Jazz Ensemble Methods. 1 A student whose major instrument is guitar may request to substitute applied guitar as the major instrument in the instrumental option. Guitar majors may substitute MUSC 269:270 Fretboard Skills for MUSC 360 and 364. Guitar majors may take up to four (4) credits in MUSC 436 Guitar Ensemble to meet the Ensemble r e q u i r e m e n t. Total Credits Needed for Degree MUSIC BUSINESS CONCENTRAT I O N All requirements for students selecting the Music Business Concentration are outlined below. Among the requirements are Music, Business, and supporting courses. Please note that some hours required by the major also meet General Education requirements. General Education Requirements (see p. 59) 50 Majors are required to take the following courses and are advised to take them as part of their General Education requirements: ECON 105. Principles of Economics. 3 (ECON 295. Economics of the Arts may be substituted for either 105 or 106) S TAT200. Introduction to Statistics. 3 *MUSC 321:322 History of Music. 3 : 3 *These courses are also part of the Music Core. 172

23 Music Core Applied Major (Level 6). 12 MUSC 100. Introduction to Music Literature. 3 MUSC 104. Arts, Entertainment, and the M a r k e t p l a c e. 3 MUSC 111 : 112 : 211:212. Music T h e o r y. 12 MUSC 114 : 115:214:215. Ear Training and Sight Singing. 4 MUSC 127. Introduction to Computer Music. 3 Chorale or Instrumental Ensemble 7 Choose 7 hours from MUSC 131, 145, 147, 151, 431, 434, 435,436, 455, 456, 457 MUSC 191:291:391:491. Topics in the Arts & Entertainment Business. 4 (each individual course to be elected a minimum of one time) MUSC 161:162. Piano Class. (not required of keyboard majors) 1 : 1 MUSC 204:304:404. Music Business Field E x p e r i e n c e. 3 MUSC 208. Marketing the A r t s. 3 MUSC 315. Arts & Entertainment Industry M a n a g e m e n t. 3 MUSC 416. Financial Management for the A r t s. 3 MUSC 321, 322. History of Music. * MUSC 354. Introduction to Conducting. 2 MUSC 494. Internship in Music Business. 3 Business Courses 18 ACTG 211. Fundamentals of Financial A c c o u n t i n g. 3 B L AW203. Legal Environment of Business. 3 FINC 331. Introduction to Business Finance. 3 M G N T 322. Organizational Behavior. 3 MKTG 340. Principles of Marketing. 3 ECON 105. Principles of Economics. * ECON 106. Principles of Economics. 3 S TAT200. Introduction to Statistics. * *These courses are counted in General Education r e q u i r e m e n t s. S u p p o rting Courses 10 Three cognate courses 9 MUSC 491, Topics in the Arts and Entertainment Business. 1 *10 credit hours of cognate courses are required in an area of individual emphasis and are to be decided upon jointly by the student and adviser. An eligible cognate will consist of an approved sequence of three courses combined with a fin a l project (taken as MUSC 491) focused in an area of professional interest. Suggested cognate areas include: Computer Music, Media Studies, Sound Design and Production, Marketing, Business Law, Business Administration, Business Communications, Economics, General Management, Small Business Management, Theatre, Dance, Vi s u a l Arts, or Music Performance. The cognate should consist of a sequence of courses focused in one area of the student s c h o i c e. Total Credits Needed for Degree 143 MUSIC T H E R A P Y C O N C E N T R AT I O N All the requirements for a Music Therapy concentration are outlined below. General Education (see p. 59) 50 Majors are required to take the following courses and are advised to take them as part of their General Education requirements: ANTH (anthropology course) 3 B I O L 105. Concepts of Biology. 4 PSYC 121. General Psychology. 3 PSYC 317. Child Psychology. 3 S O C Y 110. Introduction to Sociology. 3 *MUSC 100. Introduction to Music Literature. 3 *This course is part of the Music Core. Music Core Applied Major (Level 6). 12 MUSC 100. Introduction to Music Literature. * MUSC 111 : 112 : 211:212. Music T h e o r y. 12 MUSC 114 : 115:214:215. Ear Training and Sight Singing. 4 MUSC 127. Introduction to Computer Music 3 Choral or Instrumental Ensemble. 7 Choose 7 hours from MUSC 131, 145, , 431,434, 435, 436, 455, 456, 457 MUSC 161:162:261:262. Piano Class. (not required of keyboard majors) 0-4 MUSC 216. Keyboard Harmony. (required of keyboard majors only) 0-1 MUSC 229. Percussion Class. (Not required of percussion majors or m i n o r s ) 0-1 MUSC 257. Voice Class. 0-1 (Not required of voice majors or minors.) MUSC 267:268. Guitar Class. 0-2 (Not required of guitar majors or minors.) MUSC 321, 322. History of Music. 3, 3 MUSC 354. Introduction to Conducting. 2 MUSC 418. Arranging and Orchestration *These 3 hours of course work are counted in General Education requirements.