CONCORDIA COLLEGE MUSIC DEPARTMENT FACULTY HANDBOOK

Transcription

1 CONCORDIA COLLEGE MUSIC DEPARTMENT FACULTY HANDBOOK The Mission of the Department of Music is to prepare students for creative and purposeful lives through rigorous Liberal Arts and professional programs to nurture in them the fullness of individual and corporate humanity through the study and practice of music and to challenge each to live an exceptional life.

2 Concordia College Department of Music Music Faculty Handbook A Supplement to the College Faculty Handbook I. Departmental Organization Table of Contents A. Music Administration B. Music Administrative Staff C. Committees of the Music Faculty 1. Music Advisory Committee 2. Assessment Committee 3. Concert Committee 4. Music Curriculum Committee 5. Music Recruitment & Marketing Task Group 6. Tenure Committee 7. Full-Professors Committee 8. Library Liaison 9. Student Scholarship Day Coordinator 10. Recording Coordinator II. Procedures Related to Instruction A. Syllabi B. Teaching Loads C. Course Evaluations D. Contextual Studies Guidelines E. Scheduling Studio Recitals, Classes, and Rehearsals F. Change of Major Administrative Process G. Departmental Writing Statement III. Promotion, Tenure and Evaluation A. Department of Music Faculty Scholarship Statement for PT&E IV. Professional and Scholarly Activities V. Procedures Related to Music Facilities and Equipment VI. NASM - Professional Ethics VII. Procedures Related to Travel 1

3 VIII. Faculty Forms a. Music Major Audition Form b. Change Form for Music Majors d. CRH Instructions (Outside Groups) 2

4 I. Departmental Organization A. Music Administration 1. Music Department Chair 2. Coordinators for Area Studies a. Band Area b. Brass Area c. Choir Area d. Composition Area e. Music Theory/Music History Areas f. Music Education Area g. Orchestra Area h. Percussion Area i. Piano/Organ Area j. String Area k. Voice Area l. Woodwind Area B. Music Administrative Staff 1. Assistant Administrator for Choral Ensembles 2. Assistant Administrator for Instrumental Ensembles 3. Administrative Assistant for the Music Department 4. Administrative Assistant for Music Ensembles/Coordinator for Music Recruitment and Marketing 5. Office Assistant for the Music Department C. Committees of the Music Faculty 1. Music Advisory Committee The Music Advisory Committee consists of the Music Chair and the Coordinators for Area Studies. Music Advisory Committee meetings may be called between regularly scheduled monthly Music Department meetings to consider matters of urgency or importance for the music programs. 2. Music Assessment Committee The Music Assessment Committee annually collects information and data through examinations and surveys to assess the quality and progress of student achievements. Music assessment information is submitted as an Annual Assessment Report for the College each year. 3. Concert Committee The Concert Committee is responsible for coordinating the guest artists and lecturers for the upcoming Hvidsten Artist Series. Faculty will submit guest artist/lecturer proposals for the next school year to the Concert Committee by February 20. Proposals should include an itemized budget (fee, housing, transportation, food, stage needs, etc.), justification (value or benefit for the students, faculty, department, and/or community), what the event will be (concert, masterclass, lecture, etc), dates of visit, and any addition details. 3

5 Committee will meet shortly after deadline and discuss the proposals, with the goal to fund all proposals possible. If there are not enough funds to cover all guest artist requests, we will defer to each of the areas (strings, woodwinds, piano, voice, brass/percussion, theory/history) with multiple submissions to prioritize their proposals. A reserve of $1,000 will be held for last minute opportunities that may arise after the deadline. The concert committee report will be given to the Music Department Chair. Faculty members will submit all requested faculty artist recital dates by April 20 th. These dates will be compiled with the guest artist/lecturer dates to form the newly proposed Hvidsten Artist Series. All dates will be submitted to the Office Assistant for approval. The final draft of the Hvidsten Artist Series will be submitted to the College Cultural Events Calendar committee for review and publication. 4. Music Curriculum Committee The Music Curriculum Committee will facilitate the submission and approval of all necessary curricular changes for the Department of Music in a given year. Following Music Department faculty approval, proposals are submitted to the College Curriculum Committee. 5. Music Recruitment & Marketing Task Force The Music Recruiting and Marketing Task Force will be responsible for determining the annual strategies to execute various tactics designed to enroll more new music students to the college each fall. The Music Recruitment and Marketing Task Force will have a number of priorities. These priorities include, but are not limited to: *Growing the number of participants in the annual music scholarship competitions *Engaging Concordia music alumni in identification and recruitment of prospective high school students interested in music *Leveraging Concordia music ensembles and studio professors in the recruitment of prospective students *Enhancing the quantity and quality of both print and electronic marketing collateral focusing on the Music programs at Concordia 6. Tenure Committee The Tenure Committee is comprised of all tenured faculty members in the Department of Music. The Tenure Committee convenes towards the end of each semester to vote on candidates for tenure and to discuss tenure-track second and fourth year candidates for review. 7. Full-Professors Committee The Music Chair consults the full-professors Committee for all expenditures over $1,000 from the Department of Music General Restricted Funds. 8. Library Liaison The liaison between the music faculty and the library administration staff will represent the library needs of the Department of Music to the Director of the Ylvisaker Library. 9. Student Scholarship Day Coordinator The Student Scholarship Day Coordinator helps students prepare music research topics for presentation at College Student Scholarship Day activities. 10. Recording Coordinator 4

6 The Recording Coordinator gives advice to faculty members and students for operating and maintaining the recording equipment within the Hvidsten Hall of Music. II. Procedures Related to Instruction A. Syllabi It is imperative that a proper course syllabus be constructed for every course that is taught in the Department of Music. The typical components might include the following: 1. Course Description 2. Goals and Outcomes 3. Texts 4. Course Policies a. Participation b. Attendance c. Academic Integrity and Honesty d. Students with Disabilities e. Tutoring Resources f. Evaluation and Assessment of Learning g. Daily Schedule Note: Examples of course syllabi are available under Curriculum Committee on Moodle. B. Teaching Loads 1. The standard Full-Time Equivalent (FTE) teaching load for Concordia College is 12 credit hours of classroom teaching. 2. The standard applied teaching load for the Music Department is 36 applied lesson credit hours (30 minute lessons) or 18 applied lesson contact hours. NASM recommends that 18 applied lesson contact hours be the equivalent of 12 credit hours of classroom teaching. 3. Occasionally, teaching contact hours exceed the credit hours given for a particular course, and the professor is credited for the necessary additional contact hours of teaching. 4. Many music professors teach a combination of classroom courses and applied teaching lessons. The NASM.66 formula for the equivalency relationship between applied lesson instruction and classroom teaching is necessary for the proper calculation of a FTE faculty load. C. Course Evaluations The processing of student evaluations for any given class, ensemble, or lessons may be requested for any semester. However, it is imperative that the Promotion, Tenure and Evaluation Committee process course evaluations for the semester in which a faculty member is under consideration. D. Contextual Studies Guidelines Contextual Studies electives are part of the Music Department s revised core for music majors. They are intended to provide students with opportunities to explore in 5

7 greater depth topics, musical genres, and specific style periods that were introduced in the History of Music courses taken in their second year. These in-depth studies are intended to help students improve their critical reading and analytical skills, research skills and, especially, their writing skills These courses will be offered at the 300 (.5 credit) and 400 (1 credit) levels. The primary difference between these levels is the amount and type of writing required: 300-level courses will include short papers and limited research/analysis projects; 400- level courses are writing-intensive, and will require a major research/analysis project, a lengthy paper based on this project, as well as an oral presentation summarizing the paper. Student must take two credits of Contextual Studies courses in at least two of the areas mentioned above (period, genre, and topic). One of these must be a full credit intensive writing course. Also, students must have taken a 300-level Contextual Studies course before taking a 400-level course. As far as we are aware, none of these courses, because of their nature, will replicate other courses on campus. They may, however, enhance courses students may taking in history, sociology, psychology, philosophy, and art history. Proposals for these courses will be monitored by the Theory/History faculty to make sure they follow the description and guidelines for the type of course proposed, and that the instructor fully understands the nature and purpose of Contextual Studies courses. Course Descriptions a. Genre Courses (308/408) These focus on the development and style characteristics of a specific genre (opera, symphony, concerto, Broadway musical). They may trace changes in the genre from its origins to the present, or limit their focus to a shorter time span (e.g. opera of the Romantic Period). There will, of course, be some overlap with the concerns of Period courses (all genres should be understood in their cultural contexts), just as Period courses will naturally examine the genres especially associated with a particular period. The difference between these course types is thus one of emphasis. An example of this type of course might be one that investigates the relationship of popular dance to other genres of various periods, or one that traces the development of film music. b. Period courses (309/409) These are primarily concerned with investigating the cultural contexts in which music is made and performed in a specific style period (e.g. Renaissance, Baroque, Romantic). Students will explore the relationships between the music a period produces and, for example, its social structure, religious beliefs and institutions, philosophical ideals, other arts, and political systems. The number and scope of these relationships would, of course, be determined by the course credit. c. Topic Courses (310/410) These focus on areas of inquiry that cannot be easily categorized as Period or Genre. Examples of this type of course might be a course on the philosophy 6

8 and aesthetics of music, Beethoven s late style period, the origins and history of jazz, the impact of technology on composition and performance in the twentieth century, feminist perspective in musicology, music as propaganda, or the sociology or psychology of music. Common Goals for All Courses All Contextual courses have as a goal improving student s reading, critical thinking, analytical (especially formal) and writing skills, using the specific content of a course as a means for achieving these ends. Common Learner Outcomes All of these courses seek to help students: Understand the disciplinary methodology required to understand and research a subject, Understand the multidisciplinary dimensions of the course, Improve their reading, critical thinking, analytical, research, and writing skills, And to be able to articulate and synthesize what they have learned, and defend positions, ideas, and interpretations they may formulate. Achieving these outcomes will be done through reading assignments, class discussions, formal and style analysis, research projects, tests, and writing assignments that ask students to review and integrate what they have learned, as well as consider implications for further research, and possible connections to other areas of inquiry. Learner Outcomes Specific to Each Type of Course Period Courses These courses seek to help students: Understand the cultural contexts in which music is created and performed in a particular period, Understand important cultural and stylistic antecedents of the period, Identify the major genres of a period and understand how they reflect, perhaps reject, or even anticipate changes in its values, ideal, and mores. Genre Courses These courses seek to help students: Understand a the history of a genre s development, Understand the importance of a particular genre, both musically, culturally and historically, Understand the influence of one genre on another, recognize selected works that are examples of a particular genre, Analyze and discuss the style characteristics of a specific genre/work. Topic courses These seek to help students: Understand a particular topic in a multidisciplinary breadth and a disciplinary depth, Understand important connections a topic may have with other areas of music scholarship. 7

9 Achieving these outcomes, as mentioned above, will be done through reading assignments, class discussion, formal and style analysis, research projects, tests, and writing assignments that ask students to review and integrate what they have learned, as well as consider implications for further research, and possible connections to other areas of inquiry. Goals for Liberal Learning 1. Love of learning is only possible when students feel they have learned enough to have a good grasp of a subject, have confidence in their ability to learn and apply their learning skills to future inquiry, and achieved a level of understanding that both reveals how much they have yet to learn and inspires a desire to keep learning. Contextual Studies courses, given good faith student participation, provide many opportunities for students to achieve the level of understanding and confidence needed to develop the curiosity that is a mark of a love of learning. The fact that these courses are electives means that most students, we assume, will take courses in which they already have an interest. The faculty who will teach these courses choose their own subjects, subjects for and in which they have a special passion and scholarly interest. 2. The Goals and learner outcomes stated earlier seek to develop foundational skills and transferable intellectual capacities. Since these courses are for upperlevel students who have already acquired some foundational skills and have had some practice in applying basic problem solving skills in a variety of contexts, they also seek to bring these skills and capacities to a higher level. The emphasis on writing, particularly writing to learn, found in the 300 and especially the 400 level courses, is integral to developing the skills and capacities described by this goal. 3. All of these courses include disciplinary methodology as a primary means of inquiry. Developing student awareness of this methodology is, as stated, an important learner outcome. Developing an understanding of appropriate interdisciplinary perspectives will occur primarily in Period (Music History is, by definition, multidisciplinary) and Topic courses (depending on the nature of the topic). Multicultural perspectives will appear primarily in Topic courses that have an ethno-musicological focus. 4. Period courses will naturally ask students to compare and contrast the values of other times with their own, thereby helping them become more aware of contexts and influences that have shaped their own values and assumptions. Contextual Studies courses are not intended to help students cultivate ethical, physical, and spiritual self-understanding, though some courses (e.g. those that examine philosophical positions or spiritual ideas concerning the meaning and importance of music) may stimulate such cultivation. 5. Other than helping students to be more literate, knowledgeable, and thoughtful as musicians and teachers in their public lives, these courses will not require students to think about how they might participate responsibly in the world. Some courses may generate such thinking (a course in aesthetics would naturally consider whether or not music is a universal language, and how it may or may not be useful in helping different peoples understand each other, 8

10 and a course on music therapy would naturally consider how music is used to improve mental health). Concordia Initiatives 1. These courses, as stated in the goals and learner outcomes, are to be a means for helping students improve their written communication skills in assignments of varying lengths and types. 2. They are likewise, but to a lesser extent, a means for helping students improve their oral communication skills, both in formal presentations and class discussion. 3. Computer literacy is required for word processing and presentations. Most students are already adept at using computer music notation software. 4. Global and ethnic perspectives will appear only in courses with an ethnomusicological focus. Feminist perspectives arise to some extent in Period courses, and will at some point be the focus of a separate Topic course, or part of a course on the history of musicology, or aesthetic perspectives. Resource Adequacy At this point, with only a few courses being developed, it appears that library resources are adequate. The Music department s Library Liaison (Alec Sonsteby) has repeatedly asked for suggestions to improve the music collection, especially if they are related to the needs of any course. Not surprisingly, Web/On-line resources have become as important as tradition library materials. E. Scheduling Studio Recitals, Classes, and Rehearsals a. Schedule all studio recitals, exceptional classes, and rehearsals directly with the Office Assistant. b. Submit all program information and posters directly to the Administrative Assistant Renee Kelly at least three weeks before the recital event for processing with the Communications Office. c. Please arrive at least one-half hour before your studio recital event in order to open Christiansen Recital Hall for the stage manager and the recorder. Student workers do not necessarily have access keys to the Recital Hall. F. Change of Major Administrative Process a. Any time a student auditions for a degree program, a faculty member must submit a Bachelor of Music Program Audition form (pink) or a Bachelor of Arts in Music Program Audition form (gray) to the Music Office Administrative Assistant Renee Kelly. Examples of these forms may be found in the Music Faculty Handbook. b. The Music Office will complete a Change Form for Music Majors to be signed by the Music Chair and submitted to the College Registrar s Office for processing. An example of this form may be found in the Music Faculty Handbook. c. The Music Office will send the student official notification of acceptance to the appropriate music degree program and will update the office records for music degree students. 9

11 G. Departmental Writing Statement (material drawn from Jonathan Bellman s A Short Guide to Writing About Music, 2000) The relationship between words and sounds has often been problematic in the study of music. Scholars throughout history have commented on the difficulty in capturing musical ideas and concepts in words. How does one articulate or explain or even describe, using words, what happens in music? This fundamental struggle of using words (through speech or in writing) to talk about music is something all students at Concordia grapple with throughout their time in our department. While we would probably much rather music about music than talk about music, we recognize that the ability to articulate in words musical ideas is a fundamental skill of being a practicing musician, music educator, and music-scholar. From this context arise a number of specific approaches to writing about music that Concordia students undertake during their education at the college, kinds of writing that not only enable and facilitate learning while a student on campus, but also prepare the music graduate for avocational and professional writing on and about music: Biography and History: examination of the people and circumstances that produced a work or a repertory, situating works in the musical and cultural environments of their time. Style Study: description of music s raw materials melodies, harmonies, meters and rhythms, scoring, etc. Analysis: coming to an understanding of the structure and processes of a piece, or how it works. Interpretation: thick description that moves beyond style study and analysis to interpretation of the music. Reflection: articulation of the impact of music and its contexts on one s personal or corporate life and identity. Performance Study: discussion and evaluation of the way music works in performance. Organological Study: description and analysis of musical instrument (both historical and modern), their mechanical aspects, physical properties, and capabilities. Archival Study: understanding historic music through study of manuscripts, fragments, and historical printings Source Study: investigation of musical documents themselves sketches, editions, primary writings on music Criticism: evaluation of works or performances, based on informed opinion and recognized perspective. The first six of these approaches (plus criticism) are found in many courses, while the rest are infrequent. They find their way into a variety of genres that are included in coursework and are common in the music field: Reaction Paper: relatively uninformed reactions to music (common in introductory music classes). Reflection Paper: a more generative piece of writing that facilitates reflection on music. 10

12 Concert Review: includes reporting on a news event, artistic evaluation, and promoting community interest Analytical Paper: starts with the music itself rather than external factors (biography, context, conditions, etc.) and address the workings of a piece the way musical materials are deployed and how they interrelate. Program and Liner Notes: for live performances or recordings, including biographical background, cultural context, and style and affect Summaries and Abstracts: rendering in a few words the essence of a larger piece of writing Press Release: publicizing an upcoming event, with an aim of efficiency Argumentative Essay Research Paper: using the variety of sources available in music, including but not limited to journal and magazine articles, liner notes, web-based sources, musical scores, recordings, theses, books, etc. In the Concordia College Department of Music, we mean to push beyond the usual difficulty of writing about music, which can often be seen as an excuse for not writing at all. We want all of our musicians, no matter their specialization, to write well. It is a central part of their education as musicians. They will write in the music history surveys and upper-level contextual studies courses. They will write in World Musics and in a number of their music education courses. They will write within the studio in and around their private lessons. Many will write as they support the work of ensembles as officers. Many will write as they engage in the various clubs and organizations within the department. In all cases, writing is evaluated on the basis of our students ability to think and write critically and clearly about the practices and products of making music. III. Promotion, Tenure and Evaluation A. Department of Music Faculty Scholarship Statement for PT&E The Department of Music at Concordia College recognizes and supports continuing professional activity in the life of every faculty member. Faculty members engage in professional scholarly and artistic activity for many reasons, including the following: to inform teaching, to enhance the life of the campus community, to advance disciplines through association with professional organizations, and to derive personal fulfillment through artistic endeavor. Such scholarly and artistic activities are the most visible elements of faculty work. More importantly, however, they constitute the learning components of the teaching-learning continuum. It is therefore appropriate that all faculty members develop themselves through professional activity, and that faculty evaluation and decisions about tenure and promotion incorporate considerations of that activity. IV. Professional and Scholarly Activity Professional activity and research may include any of a wide variety of activities, depending upon the field of specialization and the interest of the faculty member. It is expected that each member of the faculty will pursue research or professional activities appropriate to his/her field(s) of specialization and teaching assignments, and will achieve recognition among his/her peers in one or more such field of activity. Activities beyond the regional level 11

13 towards national and international are encouraged. Evidence to be considered in the evaluation of professional activity and research may include (work in progress and commitments accepted should be so indicated): The following general areas constitute the range of scholarship activities in which music faculty may engage. Each area is rarely entirely distinct from others; there may be a great deal of normal overlap between areas, as well as evolution and shifts in emphases, as careers develop and change. Music Composition Creation of new music (written or improvised); New transcriptions, arrangements or editions of existing compositions; Commissions for musical compositions; Publication of musical compositions or arrangements. Music Performance Public or broadcast performances; Recordings in any and all formats; Commissioning and premiering new music; Appearances on- and off-campus as recitalist, guest soloist, or conductor with professional groups or in professional settings (i.e., professional appearances are recognized more highly than exchange concerts, for example); Performances by off-campus groups or individuals of compositions by the faculty member; Performances on commercial recordings by the faculty member or performances on commercial recordings of compositions by the faculty member; Studies in Music 1. Research and Publication (books, articles, chapters, editions, papers); 2. Publication as author, co-author, editor, or translator of books, chapters in books, articles, reviews, monographs, and non-print materials, as well as reviews of these publications (publications subjected to substantial peer review prior to publication shall be more highly regarded than publications not subjected to such review; it should be noted that publications in some teaching areas do not normally have peer review; faculty are not to be penalized in those cases); 3. Presentation (conferences, conventions, seminars, workshops, clinics, panels, masterclasses); 4. Appearances on- and off-campus as speaker, panelist, or clinician, or as a director of a workshop or institute; 5. Presenting papers, speaking, participating in panels, presiding at sessions, adjudicating, performing as soloist, ensemble member, or conductor, or otherwise participating in the meetings or activities of professional associations; 6. Developing new areas of expertise in a growing or emerging field; 7. Conducting research that is a significant contribution to the state of knowledge in the faculty member s field of expertise, and dissemination of the results; 8. Creating new instructional materials and curricula, or developing new competencies 12

14 related to teaching; 9. Working toward completion and publication of terminal degree document; 10. Participation in symposiums and other selective gatherings of distinguished colleagues; Music Pedagogy 1. Creation and publication of new instructional materials and curricula; 2. Development of new instructional technology and computer applications; 3. Teaching music across the curriculum in a Liberal Arts context; 4. Developing new competencies related to teaching; Adjudication 1. Judging competitions, festivals; 2. Music criticism: reviews of books, concerts, recordings, and performances; Student Mentorship 1. Supervision of student honors work, student thesis advisement, or supervision of student research or creative activity; 2. Collaborative activity involving student composition, performance, or research; Awards 1. Winning of prizes, awards, fellowships, or other special musical recognition; V. Procedures Related to Music Facilities and Equipment The Hvidsten Music Hall is used continually for many and varied activities throughout the day. If a particular room is used for a rehearsal or event, it is a professional courtesy to be sure that all equipment and furniture are returned to their proper place in preparation for the next activity in the space. Each year or semester, it is necessary to schedule all needed rooms in the Hvidsten Hall of Music with the Office Assistant. Rooms booked in previous years or semesters do not automatically carry over. Adhering to this courtesy will ensure the efficiency of the operations of our music community. VI. NASM - Professional Ethics NASM Recruitment Code of Ethics for Recruitment Institutions shall allow students to choose without penalty among offers of admission and financial aid until May 1 of the calendar year of matriculation for undergraduate-level programs. Written declarations of intent become binding on this date. VII. Procedures Related to Travel A. The Music Department has a small account to support some ensemble recruitment travel. It is recommended that music faculty members seeking professional travel funds submit their requests for Professional Growth Allowance or Dean s Travel Funds with the Office of Academic Affairs. 13

15 B. Music faculty members who will be away from the campus for more than two days during the regular semester are asked to notify the Music Office/Music Chair of their travel plans and arrangements for covering missed teaching obligations. VIII. Faculty Forms a. Music Major Audition Form b. Change Form for Music Majors c. Hvidsten Sign Out Sheet d. Instrument Sign Out Sheet 14

16 CONCORDIA COLLEGE MUSIC MAJOR PROGRAM AUDITION (ALL STUDENTS INTERESTED IN A MUSIC MAJOR ARE TO COMPLETE THIS FORM AND TURN IT IN AT YOUR AUDITION) I. Name: Date of Audition: Expected Year of Graduation from Concordia: Student ID Number (if known): Campus PO (if known): Home Address: City: State: Zip: Telephone: (Home) (Cell) High School: Performance Area(s): Instrument(s)/voice studied and length of time: List music ensemble/performing experience: Program (Please check one): B.M.: Music Education B.A.: Music Education B.A. Music (Cultural) B.M.: Composition B.M.: Performance (Voice) B.M.: Performance (Instrumental) DO NOT WRITE BELOW FACULTY USE ONLY Instrument Accept Decline Faculty present at audition Advisor signature Date of Interview Result of Interview Date letter sent 15

17 16

18 Instructions*for*signing*out*Christiansen*Recital*Hall* * * Name Date Address Phone EquipmentNeeds Instructionsforborrower: Security pleasecallsecurity(299c3123)tounlockandlockrecitalhall. Pleaseallow30minutesbeforeandaftertherecitalforsetupandclosedown. Pianos donotremovefromstage.ifyouneedtomoveapianoaroundonstage,please makesurethecoverison. Lights pleasemakesurethelights,whichareinthenorthwestcorner,areturnedoff beforeyouleave. Food&Beverages nofoodorbeveragesallowedinrecitalhall. Pleasereturntherecitalhalltotheconditioninwhichitwasfound. Recording thereisnoaccesstorecordingequipment. PianoTuning ifyouneedthepianotuned,pleasecontacttheoffice.thechargeis$75. RecitalSetUpSheet pleasefilloutthebackofthissheetformorespecificinstructions. Disclaimer anydamagetothefacilityorequipmentwillbepaidforbytheborrower. Signature 17

19 Concordia College Instrumental Rental Contract Name: Phone: CPO: Concordia ID: The above student is eligible to use the school-owned instrument indicated below if: 1. This rental agreement is signed by all parties involved 2. The student is enrolled in lessons for credit or registered for a school ensemble 3. The Instrument, accessories, and case are maintained in good condition 4. The student is authorized for use by a Concordia professor Instrument: Make/Model: Estimated Value: Serial Number: Accessories: Mouthpiece: Strap: Bow: Mute(s): Stool: Electronic Equipment: Miscellaneous: Instrument to be used for (list all): Instrument Return Date: 1. I hereby request use of the instrument and accessories described above. 2. I agree to be responsible for any damage or loss of instrument and/or accessory that may occur while in my care, and shall pay the cost of repair or replacement upon request of the music teacher. (Normal wear and tear will be covered by the school) 3. Rental instruments must be returned to the music office at the end of the rental period or earlier if I cease attendance at Concordia College, or no longer am using the equipment. 4. If the instrument is not returned by the date listed above, there will be a hold placed on the student s account, preventing registration, graduation, and the receiving of grades. Student Signature: Date: Office Signature: Date: Locker: Combination: 18