NEW YORK CITY

STUDENT HANDBOOK 2009

TABLE OF CONTENTS

PREFACE/MISSION STATEMENT 4

GOALS AND OBJECTIVES 5

VISION STATEMENT: New York Campus 6

FACULTY & STAFF 7

MUSIC PROGRAM 8

Admission to the Program/Advanced Placement

Applied Music Requirements for Music Majors

DEGREE OFFERINGS 9

Bachelor of Music in Music Education

Bachelor of Music in Performance

Bachelor of Sacred Music

Bachelor of Music in Composition

Bachelor of Arts in Music

Student Advisement

PRIVATE LESSONS 10

Applied Music Instruction/Private Lesson Guidelines

Jury Exams

FAQs for Applied Minors, Functional Piano and Piano Proficiency

Piano Proficiency in All Degree Programs (MUS 477)

RECOMMENDED REPERTOIRE 13

Piano (Major, Minor, Piano Proficiency)

Organ

Voice

Brass (Horn, Trombone, Trumpet, Tuba)

Violin

Guitar

Woodwinds (Clarinet, Saxophone, Flute)

Baroque Recorder

PERFORMANCE OPPORTUNITIES 24

Touring Opportunities

Music Ensembles

Mandatory Concert Attendance

STUDENT RECITALS 25

Recital Preparation

Stage Etiquette/Performance Suggestions

Junior and Senior Recitals

Guidelines & Preparation Checklist

SCHOLARSHIPS, AWARDS AND GRANTS 28

SPECIFIC JOB DESCRIPTIONS IN MUSIC 28

MYTHS AND FACTS ABOUT NYACK COLLEGE 33

MISCELLANEOUS INFORMATION 37

Campus Mail

Instruments

Employment Opportunities

Local Concerts

Care of Personal Property

PLACES OF INTEREST IN NEW YORK CITY 37

Museums

Concert Halls

LIBRARY RESOURCES 38

WEBSITES 38

Sheet Music & Free Sheet Music

Nyack College School of Music Websites

Performance Venues

Sites for the Study of Music

REPRESENTATIVE FORMS 40

Entrance Audition Evaluation Form

Recital Jury

Jury

Concert attendance and performance record

Registration form

SAMPLE PROGRAMS FOR JUNIOR AND SENIOR RECITALS 45

Senior Recital for Music Education

Shared Junior Recital

Senior Recital

MUSIC PAGES FROM THE 2008-2009 NYACK COLLEGE CATALOG 52

Synthesis of additions to the rating sheets

Nyack Catalog (Music requirements)

Church Music Major - S.M.B.

Composition Major - MUS.B.

Instrumental Major - MUS.B.

Music Major - B.A.

Music Education Major - MUS.B.

Piano Performance major - MUS.B.

Voice Performance Major - MUS.B

Interdisciplinary Studies - B.S.

Core Curriculum

Course Descriptions

Church Music Major Suggested Program Plan

Composition Major Suggested Program Plan

Instrumental Performance Major Suggested Program Plan

Music Major Suggested Program Plan

Music Education Major Suggested Program Plan (eight semester plan)

Music Education Major Suggested Program Plan (nine semester plan)

Piano Performance Major Suggested Program Plan

Voice Performance Major Suggested Program Plan

B.S. Interdisciplinary Studies Suggested Program Plan

PREFACE

The School of Music Student Handbook is written as a guide for students majoring in the study of music at Nyack College. Each year the school makes continued efforts to enhance the program of study. The School of Music Student Handbook is updated each summer, and copies are made available to all music majors at the beginning of the fall semester. The contents of this handbook, along with the Nyack College Catalog, are to be studied and referred to concerning questions relating to the music program. Students are responsible for the contents of this document and will be expected to meet the various curricular requirements.

The School of Music offers five music curricula at the baccalaureate level:

► Bachelor of Music in Performance

► Bachelor of Music in Music Education

► Bachelor of Sacred Music

► Bachelor of Music in Composition

► Bachelor of Arts in Music

NYACK COLLEGE MISSION STATEMENT and PHILOSOPHY OF EDUCATION

Nyack College, a Christian liberal arts college of The Christian and Missionary Alliance, seeks to assist students in their spiritual, intellectual, and social formation, preparing them for lives of service to Christ and His church and to society in a way that reflects the Kingdom of God and its ethnic diversity.

“Whatever is true, whatever is noble, whatever is just, whatever is lovely, whatever is admirable - if anything is excellent or praiseworthy - think about such things.” Philippians 4:8

In keeping with this wisdom, Nyack College is committed to providing its students a broad education based upon the liberal arts and rooted in the historic Christian faith. Thus Nyack College is a Christian liberal arts college dedicated to pursuing, integrating, communicating, and applying truth.

CORE VALUES and UNDERGRADUATE STUDENT LEARNING GOALS

Nyack College and Alliance Theological Seminary seek to exalt Jesus Christ and fulfill their mission by being:

Socially Relevant

Preparing students to serve in ministerial, educational, healing, and community-building professions.

Students will recognize the value of economic, political, social, and organizational systems as tools for positive change.

Students will apply a foundation of compassion and integrity to their chosen field of study.

Students will demonstrate servant leadership as they engage the community and marketplace.

Academically Excellent

Pursuing academic excellence in the spirit of grace and humility.

Students will attain an educational foundation in arts and humanities, science, mathematics, and social science.

Students will be able to communicate in oral and written form and demonstrate information and technological literacy.

Students will demonstrate critical thinking, problem-solving, and research skills across the curriculum.

Globally Engaged

Fostering a global perspective within a multi-ethnic and multicultural Christian academic community.

Students will understand the interplay of historical, cultural, and geographical realities of the global community.

Students will value diversity through an understanding of worldviews, languages, cultures, and peoples.

Students will engage in service opportunities within the global community.

Intentionally Diverse

Providing educational access and support to motivated students from diverse socioeconomic backgrounds.

Students will understand the heritages and traditions of diverse peoples and cultures.

Students will appreciate the need to promote biblical principles of social equality.

Students will engage in interactions and relationships with those from diverse backgrounds.

Emphasizing Personal Transformation

Emphasizing the integration of faith, learning, and spiritual transformation.

Students will grow in their faith as they pursue God’s purpose in their lives.

Students will integrate their Christian worldview into learning and service.

Students will apply discipleship principles to assist in the personal transformation of others.

SCHOOL OF MUSIC

GOALS AND OBJECTIVES

GOAL 1: To graduate students who have acquired and developed the foundational academic skills of reading carefully and critically, communicating clearly and cogently, and thinking analytically and synthetically

· by designing into music courses a cognitive approach to the language and syntax of harmony, form, and the structure of music.

· by designing into the music history sequence a comprehensive overview of Western music and related religious, philosophical, political, scientific, and social developments.

· by designing into music literature courses the appreciation and understanding of non-Western music and music of the church, including research components and the analysis of contemporary phenomena in these areas.

· by fostering the aural development, kinesthetic processes, and aesthetic sensitivities which form the basis of professional caliber musicianship.

GOAL 2: To graduate students who have achieved a broad understanding of human learning.

· by fostering in our students the skills and motivation for life-long learning and participation in music.

· by encouraging all students to value the creativity of the human spirit and the aesthetic dimension of life.

· by promoting involvement in campus life through participation in aesthetic and cultural activities.

GOAL 3: To graduate students who have achieved an in-depth understanding of one particular field of study by meeting the requirements of at least one major

· by training our students to acquire the theoretical and practical skills required by music educators, church musicians, performers and composers.

· by fostering a broad knowledge of music literature, both sacred and secular, through study and performance.

· by employing a competency-based approach for course design and requirements throughout the program while encouraging artistic creativity.

· by cultivating career programs and awareness in the various music and music-related fields.

· by utilizing the cultural resources of various metropolitan New York area institutions.

GOAL 4: To graduate students who have achieved a basic Christian worldview understanding which can serve as a basis for interpreting experience

· by providing experiences in Christian ministry involving music in the Christian and Missionary Alliance and other churches.

· by promoting a sense of Christian love and caring throughout the endeavors of the School of Music.

· by building the self-esteem of the individual through musical achievement in the Christian context.

· by fostering a respect for diverse forms of music, worship, and culture.

GOAL 5: To strengthen a sense of civic responsibility to the community

· by promoting in our students an appreciation for the opportunities and responsibilities which exist in a democratic society concerning the arts.

· by encouraging involvement in civic affairs through music and the allied arts.

VISION STATEMENT, NCNYC

Every school within Nyack College has its own mission statement. We at Nyack College, Manhattan share a mission statement with the Rockland campus which you have just read. With our sister campus we also share regulations governing the School of Music. These regulations are based upon the practice of colleges accredited by the National Association of Schools of Music and by other accrediting agencies. These regulations are stated within this Handbook and must be followed, with few adaptations, by all Nyack campuses.

Nevertheless, located as we are within the City of Manhattan, attended by many commuters and others who desire to experience the urban environment unique to this world center of culture, the School of Music at NCMC has a vision and emphasis of its own. This vision, expressed in the classes offered by our outstanding faculty, takes shape within our major programs. Our vision is nurtured by the exciting surroundings of this city, and is refreshed and inspired by the talents and enthusiasm that our students bring to our campus.

We strive to serve the churches whose students attend our campus, and the diverse communities they represent, and we do this through our worship music program (SMB in Sacred Music). Every aspect of worship deserves our best efforts. Dozens of different denominations and ethnicities are served by students and faculty within the School of Music, and that diversity accords with the mission of The Christian and Missionary Alliance, whose contribution to the Church has been one of unity in diversity, and practical service to the Christian community and far beyond. We only need to look at the writings of A. B. Simpson to note the inclusiveness and the sweep of his spiritual and social outreach. We at NCMC share that vision, composed as we are of people from many nations and from many traditions. The majority of our students come from the five boroughs of New York City, and upon graduation, return to their churches to bring new ideas for music ministry and service from Nyack College.

It is, therefore, incumbent upon us to be aware of the current trends in Christian music and spirituality, and to assist our students to become learned leaders in the field of worship music. Building on a foundation of liturgical theology and historical studies that unite us with the ageless Church, we must constantly refresh our church music program, updating and expanding what we offer, not for its own sake, but because the Holy Spirit constantly calls the Church to a fresh vision.

Along with an excellent worship music program, preparing students to excel in Music Education is incumbent upon us as a School of Music. Students who aspire to teach children in public and private schools should be among our most gifted and well-prepared musicians. The old adage, “Those who can, perform; those who can’t, teach” has no place in our thinking. Our aspirations for music teachers should be similar to our high aspirations for worship musicians, serving our children’s educational needs with spiritual maturity and academic distinction. Students in Music Education, inspired by master teachers and the example of great musicians, will develop a passion for teaching and the music skills that must accompany it. Future educators will be thoroughly prepared and tested, in the classroom and on the field, before they receive a Nyack degree.

We also offer excellent training to those students prepared to earn a Performance Degree. We at Nyack College, New York City function within a liberal arts college, whose broad vision of education can be beneficial to every student, Some of our students have the and talent and ability for graduate studies in Performance and we attempt to prepare them realistically and convincingly. Such students need to participate in a nurturing program, under careful advisement, which will help them to realize their dreams while they attain an accredited college degree. Our vision is to increase the opportunities for such exceptional students, to expose them to the best performances in the City of New York, and to challenge them to interact positively and with Christian faithfulness in the environs of the classical music industry. Auditioned classes such as Chorale, Collegium Musicum, Opera Workshop, Jazz Ensemble, and Chamber Music assist such students with a wide range of performance opportunities.

Of no less importance than those who come to us best prepared are the many students who come to us with little musical preparation but the desire to explore and develop their abilities and to receive an accredited college degree. Students in this category often surprise us with their talent and predisposition for the experience of great music. For many students, majors and non-majors, it is deeply satisfying to make music together, and to explore great music literature. Some of our incoming students develop their own vocal talents, and learn that there are certain types of music that help them preserve their voices, no matter what their preferred styles. Some musicians excel in playing by ear. All who choose to major in music are given an introduction to classical music and to its wholesome discipline. Where that experience leads upon graduation is entirely up to the student. We encourage excellence in classical music, jazz, and contemporary Christian expressions. Undergirding improvisational and creative expression is a strong theoretical and historical background. Of all our students, we urge literacy in every sense of the word, so that they can graduate as well-educated, mature people, prepared to serve wherever they are called. The vision as here presented offers both us a platform for ongoing discussion and a common purpose to which we, as Christian musicians and educators, can commonly ascribe. Our prayer is that God will constantly renew our vision, not only as a faculty, but as an exciting and dedicated learning community.

FACULTY

Professors: (Biographies of all professors can be found at the following website: http://www.nyack.edu/content/MusicNYCFaculty)

Glenn N. Koponen, Associate Dean, School of Music; Professor of Music Education & Applied Music.— Trumpet, Orchestration, Orchestral Conducting, Wind Ensemble, Brass Ensemble, 20^th Century Music History

Sue Lane Talley, Director School of Music NYC Campus.—Piano, Conducting, Recorder,

Chorale, Collegium Musicum, Opera, Music History, Worship Studies
Colin Fowler, Coördinator of Music Theory—Organ, Piano, Conducting, Music History,

Music Technology, Music Theory, Chorale

Lars Frandsen— Guitar, Collegium Musicum, Music Theory, Music History

Joan Mallory—Department Head, Music Education

Dana Talley, Coördinator of Vocal Program—Voice, Music History, Opera,

Music Education, Language Diction, Italian
Simon Li, Piano—Music Theory, Worship Studies, Conducting

A. Wayne Batchelor—Double Bass, Jazz
Mary Carey—Voice, Music Education

David Chavez—Music Education

Tom Christensen—Sax, Clarinet, Music Education

Stephen Clapp—Violin

Jason Covey—Trumpet, Ear Training and Sight Singing

Marisol Espada—Cello

Sharmi Harper—Voice
Chris Hughes—Percussion, Jazz
Eleazer Rodriguez—Guitar
Debbie Shen—Flute
Uli Speth—Violin, Viola, Collegium Musicum, Chamber Music, Conducting, Orchestration
Jonathan Talley—Opera Workshop, Acting
Jon Werking—Piano, Jazz, Improvisation, Music Technology, and Church Music

Yohan Yi—Voice

Joel T. Jameson, Marie Kenote, and Tammy K. Lum—additional full time professors on the Rockland campus

Autumn Nova, Administrative Assistant—and two student workers

MUSIC PROGRAM

The School of Music provides professional training for qualified students in the following degree programs:

► Bachelor of Music in Performance

► Bachelor of Music in Music Education

► Bachelor of Sacred Music

► Bachelor of Music in Composition

► Bachelor of Arts in Music

All curricula stress sound musicianship, active musical experience, knowledge of theoretical and practical issues in the field of specialization, acquaintance with the professional literature both sacred and secular as well as responsible participation in all phases of instruction. Graduates will have prepared for careers as performers, ministers of music, organist and choir directors, composers and teachers of music in public and private elementary and secondary schools. Graduates are also qualified for advanced studies in graduate schools.

ADMISSION TO THE PROGRAM

All students, freshman and transfer, are admitted to the music program on the basis of an audition, teacher recommendation and written essay. The audition is generally scheduled following the student’s acceptance by the college. Prospective music majors may, upon request, audition for the music faculty prior to submitting an application for admission to the college. Prospective students who reside within a 200-mile radius of the college are requested to audition in person before the music faculty. Prospective students living outside the 200-mile radius may submit a taped audition (audio or video) for review by the music faculty.

ADVANCED PLACEMENT

Placement tests in music theory, ear training and sight-singing are given to all new music majors during Freshman Orientation. Students who display competence in any of these areas may waive one or both semesters of the first year courses. AP exam with separate sub-scores for Music Theory and Aural Skills:

Score of 3-5 on AP Music Theory exam = MUS123 Elementary Music Theory (3 credits)

Score of 3-5 on AP Aural Skills exam = MUS121 Elem. Ear Training/S.S. (1 credit)

Note: Students with AP Music Theory credits are still required to take Nyack’s music theory and ear training placement exams. In some cases, students may be required to take freshman theory or ear training even though they also receive AP credits. Such AP credits would count as electives. On the other hand, students with a score of 3-5 on the AP exam, who test very high on Nyack’s placement exams, may receive up to 8 credits in theory and ear training upon the recommendation of the music faculty. Music Education majors with a strong piano background may also waive the beginning Functional Piano courses by audition. For more information, contact the Dean of the School of Music.

APPLIED MUSIC REQUIREMENTS FOR MUSIC MAJORS

All music majors (except students in the B.A. in Music program) are required to satisfy a certain level of performance in addition to the completion of the minimum number of credits in applied music. Occasionally this may require taking additional credits of applied music to achieve the graduation standard. Students enrolled in the Performance, Music Education, and Church Music degree programs are required to fulfill applied major requirements. Applied minor study is recommended and optional. Composition majors are required to fulfill the second year level in their applied major. Instrumental and Piano Performance majors must also complete the Concerto requirement (MUS 476) as described in the Music Handbook. Performance majors will present a Junior Recital in their third year, one-half hour of music, and a Senior Recital in the fourth year, one hour of music. Students enrolled in Music Education and Church Music are required to present a Senior Recital of one-half hour in length prior to graduation.

DEGREE OFFERINGS

MUSIC EDUCATION MAJOR – B.M.

The Music Education major is designed for the training of teachers in elementary and secondary school music in accordance with the requirements of the Division of Teacher Education and Certification of the Department of Higher Education of the State of New York. In New York, permanent certification for teaching in the public schools is open only to those holding a master’s degree and having two years teaching experience; this curriculum, therefore, leads to recommendation for the provisional certificate for teaching (K-12) in the elementary, middle and high schools of New York. The State of New York certification procedures require that recommended students make personal application for this provisional certificate. The State of New York also requires that periodic testing administered for and that students demonstrate competency by passing these tests—list and reward students will receive individualized programs detailing required examinations and dates of administration. Education students must pass these tests in order to be admitted to upper division classes.

Graduates are also qualified to teach music on the mission field in schools for children of missionaries and government officials. The teacher education program of Nyack College has been approved by the Certification Commission of the Association of Christian Schools International (ACSI) for the preparation of teachers for ministry in Christian school education. The focus of this course is the development of well-rounded and effective teachers. The inclusion of Bible courses makes an ideal program for one who wishes to serve both the community and church interests. In addition to the general admission requirements listed in the Nyack College catalog, applicants will be expected to have satisfactory scores on the Scholastic Aptitude Test of the College Entrance Examination Board (generally 920 or more). Applicants wishing to transfer into the program in cases where the SAT scores are insufficient or not readily available will be expected to present a grade point average of not less than 2.25 on a four-point scale. 140 credit hours are required for the Bachelor of Music in Music Education degree. See catalog.

PIANO or ORGAN PERFORMANCE MAJOR – B.M.

ORCHESTRAL INSTRUMENT PERFORMANCE MAJOR – B.M.

The experiences in these degree programs are designed to prepare qualified students for graduate study and professional pursuits in these fields. Organ, Harpsichord or Instrumental majors not majoring in piano will be required to pass a Piano Proficiency exam. 126 credit hours are required for the Bachelor of Music in Performance degree. See catalog.

VOCAL PERFORMANCE MAJOR – B.M.

This degree program is designed to prepare qualified students for professional performance careers, graduate study in voice, and teaching voice privately. Graduates of this program often become choral directors, soloists in oratorios and operas, and solo recording artists. Voice majors will be required to pass a Piano Proficiency exam.

126 credit hours are required for the Bachelor of Music in Performance degree. See catalog.

CHURCH MUSIC MAJOR - S.M.B.

The Church Music major is designed to train musicians for leadership positions in the church as ministers of music, organists, and choir directors. The course of study includes two years of approved fieldwork in church music under supervision of a faculty member designated by the Dean of the School of Music. Church Music majors not majoring in piano will be required to pass a Piano Proficiency exam. 126 credit hours are required for the Bachelor of Sacred Music degree. See catalog.

COMPOSITION MAJOR – B.M.

This degree program is designed to prepare qualified students for careers in the fields of composition and arranging, as well as graduate study in these fields. Applied requirements for composition majors include a major area of performance, and each student will present a senior recital (one hour in length) of original compositions organized, conducted, or performed by the student. Composition majors not majoring in piano will be required to pass a Piano Proficiency exam. 126 credit hours are required for the Bachelor of Music degree. See catalog.

LIBERAL ARTS MUSIC MAJOR - B.A.

The B.A. in Music program affords students the opportunity to study music primarily from a liberal arts perspective. It provides a strong foundation in music literature and history, theory and ear training, and consistent studies in performance areas, both individual and ensemble. This program is designed to serve students having solid intellectual interests and a commitment to aesthetic and artistic values. Students may also pursue significant studies in other liberal arts areas such as English, Psychology, Philosophy, Religion, or History.

Depending upon the secondary areas of concentration, graduates of this program are prepared for careers in music-related fields, such as church music ministries, music business, management, marketing, public relations, recording, radio and television, music theater and communications. Students may also pursue graduate studies in musicology, music education, and other music-related fields. 126 credit hours are required to the Bachelor of Arts degree. See catalog.

STUDENT ADVISEMENT

Students majoring in music are assigned an advisor by the Director of the Music Program during the fall semester of the freshman year. This advisor is a full-time faculty member who serves as the academic advisor and will counsel the music student throughout their course of study at Nyack College. While all changes in registration require the signature of the faculty advisor, it is the primary responsibility of the student to maintain comprehensive files of academic progress and accept full responsibility for completing all degree requirements.

The student’s personal advisement file should include:

· pre-registration forms.

· grade reports from each semester at Nyack College.

· any and all in-house documentation and correspondence affecting course of study.

· projections for course completion at Nyack College leading to graduation.

· all documentation as a transfer student to Nyack College including a copy of the catalog and transcript from the former school

PRIVATE LESSONS

Music majors normally register for 60-minute lessons (2 credits) in their major performing area each semester. With permission, students may register for 3 credits during the preparation of a junior or senior recital. The private lesson instructors assign semester grades which reflect the student’s progress and performance. Applied instruction is an integral part of the overall program for each student. Adequate practice time needs to be scheduled to assure progress in both the major and minor areas. The following guidelines are considered to be the minimum:

1 credit per semester 4-6 hours of practice per week

2 credits per semester 8-12 hours of practice per week

It is the responsibility of the student to purchase any and all music scores required by the instructor as soon as they are assigned. Music can be ordered by phone at Joseph Patelson Music House in New York City, or through Cliff Hill Music in New Jersey. These are two of the finest in the country and they will accept major credit cards.

Joseph Patelson Music House 212-582-5840 www.patelson.com

Cliff Hill Music 800-819-8772 www.cliffhillmusic.com

Students are expected to adhere to their scheduled time for private lessons. Attendance at all private lessons is mandatory and absolutely no unexcused absences or “cuts” are allowed. The following policies will help in planning for your lessons each semester:

WEEKLY LESSON GUIDELINES

· If students miss lessons for any reason without notifying the teacher 8 hours in advance, the lesson is not made up. Teachers will assign a zero grade for lesson cuts.

· The student and teacher should establish the method for communicating with each other (e-mail, phone—please obtain the professor’s cell phone number which is also posted) at the first lesson each semester. Students are responsible for responding to their teacher’s communications.

· If students or teachers miss lessons due to illness, required field trips, or professional commitments, it is up to the teacher to schedule makeup lessons. Students must supply documentation for illness (from the doctor) or field trip participation (from the professor).

· Students need to complete 12 lessons per semester or 11 lessons and 1 master class in order to receive credit for private lessons.

· “Left over” make up lessons may be scheduled during final exam week when necessary.

JURY EXAMS

Music majors enrolled in a professional music degree program (B.M. MUS.ED, or S.M.B.) are required to satisfy a certain level of performance in addition to the completion of the minimum number of credits in applied music. In some cases, this will require additional hours of applied music.

Music majors (except those in the B.A. program) are required to perform jury exams in their major area at the end of each semester. Optional juries and piano proficiency juries are taken only during the spring semester, however, students may request to take minor and piano proficiency juries in the fall if they wish to satisfy the requirements. Juries are normally scheduled at the beginning of the final exam period. Students will receive an NC (no credit) grade if they do not perform their jury exam. The NC will automatically change to FX if the jury is not made up within 30 days. In the cases of illness and dire emergencies, the private lesson teacher may submit a written recommendation and request for a jury postponement to the Music Office. This request should include supportive information from the proper authorities. A make-up jury may then be scheduled in the early part of the following semester. Students performing a junior or senior recital perform a recital jury four weeks prior to the recital. (For detailed information see Student Handbook.)

Piano and voice juries are to be performed by memory. Music Education majors will perform a jury exam in Functional Piano during finals week of the fall and spring semesters until the proficiency examination is passed. The purpose of the jury examination is to determine whether the minimal standard required for music educators has been met. Near the end of this booklet, a sample copy of a Jury Form has been provided. This form is to be typed using computers, and copies brought to the jury exam. It is the responsibility of the student to have all forms thoroughly prepared for the jury exam, as no incomplete forms will be accepted under any circumstances. Near the end of each semester, Jury forms may be easily processed on the computers located in the school computer lab. Jury forms may be obtained from the Music Office.

The information that follows will serve as a general guide to the levels of competence that are expected in each area of performance.

Frequently Asked Questions (FAQ’s)

Functional Piano and Piano Proficiency

· What happens if a student fails a jury?

An “NC” (no credit) grade will be given. In order to continue in their applied lessons, the NC jury needs to be retaken and passed by the beginning of the following semester.

· What is the difference between Functional Piano, Piano Minors and Piano Proficiency?

Functional Piano (MUS 101, 102, 201, 202) classes prepare Music Education majors to accompany in the school classroom. Functional Piano serves as an applied minor for Music Education majors who are not piano or organ majors or can be used to help prepare the BM candidate for piano proficiency.

Piano Minors study privately and are required to demonstrate piano skills approximately equivalent to the first year level required for piano majors as described in the School of Music Handbook.

Piano Proficiency is the minimum level of piano skill required for all music majors in the professional degree programs (B.M., MUS.ED, S.M.B.) who are not majoring in piano, organ, or harpsichord. Students may need to study privately or take Functional Piano for a few semesters to achieve the piano proficiency level as described in the School of Music Handbook.

Piano Proficiency in All Degree Programs (MUS 477)

These requirements pertain to students who are satisfying the level of piano proficiency required for the B. M. (majored in vocal performance, instrumental performance, Composition), S.M.B. and Mus. Ed. degrees. Note: Students having a piano background may take the Piano Proficiency Exam upon request during any semester.

Functional Piano (MUS 101, 102, 201, 202) classes prepare Mus Ed majors to accompany in the school classroom. Functional Piano also can serve as a preparation for BM and S.M.B. students (non-piano major) needing MUS 477, as well as the Music Education and Sacred Music majors who are not piano or organ majors.

Piano Lessons provide an opportunity for the music student to augment the performance and accompanying requirement of Mus 477. The School of Music also provides private piano instructions for students in non-keyboard majors to prepare for the supplemental requirement of Mus 477 besides the curriculum of functional piano. These lessons are not required but are strongly recommended for students in order to reach the best results in MUS 477.

Requirement for Piano Proficiency (MUS 477)

Technical Requirements:

Students are required to perform by memory one octave scales in all keys (major and harmonic minor), hands separately two notes to a beat (minimum = 50), two octaves in all keys, hands separately and together.
Students are also required to play the chord progression/cadences for tonic-predominant-dominant-tonic exercise in all keys (major and minor). Students are encouraged to play by memory. A sample of required cadences is available upon request.

Solo Repertoire: Choose one piece from the following list or compositions equivalent in difficulty:

Anthology of Baroque Keyboard Music (ISBN 10: 0882849433)

Anthology of Classical Piano Music (ISBN 10: 0739013661)

Anthology of Romantic Piano Music (ISBN 10: 0739032879)

Anthology of Impressionistic Piano Music (ISBN 10: 073903524X)
Intermediate to Early Advanced Works by 36 Composers. Ed. Maurice Hinson

Accompanying Skills:

· Voice majors: simple art song accompaniment, a 4-part hymn, various vocal exercises (A sample of the required vocal exercises is available upon request).

· Instrumental majors - simple instrumental accompaniment (e. g., Suzuki Level 1 or 2, or a 4-part hymn)

· Composition majors – student’s own original accompaniment, a 4-part hymn.

· Church Music majors - simple octavo accompaniment and playing vocal parts, a 4-part hymn, and various vocal exercises (A sample of the required vocal exercises is available upon request).

. Music Education major- a simple melody or a 4-part hymn, played and transposed up or down from half step to the interval of minor 3^rd, and various vocalise exercises (A sample of the notated vocalize exercises is available upon request).

Jury Requirements: Piano Proficiency juries are required to be taken during all spring semesters of piano study until the minimum proficiency level is satisfied. However, students may request to take Piano Proficiency juries in the fall if they wish to satisfy the requirements. Sheet music may be used for the jury exam.

The music faculty will determine if the student has satisfied the proficiency level requirement in piano on the basis of the jury examination. The student will be notified by letter when he/she has met the Piano Proficiency requirement.

RECOMMENDED REPERTOIRE

Major in Piano Performance

Solo Repertoire: Choose two pieces from the following list or compositions equivalent in difficulty: 1) J.S. Bach - Two or Three-Part Inventions or a Prelude and Fugue (WTC I); 2) an Allegro movement from an early sonata by Haydn, Mozart, or Beethoven (e.g. Haydn - D Major, Hob. XVI: 37, Mozart - K. 282 or Beethoven - Op. 79; 3) Schubert - Impromptu Op. 142, No. 2; 4.) Khachaturian - Toccata. Sight-Reading: Applicants may be asked to sight-read a simple song or four-part piece.

Solo Repertoire: Choose pieces from the following list or compositions equivalent in difficulty): 1) Baroque: J.S. Bach - Two or Three-part Inventions, Preludes and Fugues (WTC I); two Sonatas by Scarlatti or Soler. 2) Classical: Early Sonatas by Haydn, Mozart and Beethoven (mvts. I/III; mvt. II has to be combined with either I or III). 3) Romantic: Chopin – Mazurkas, Waltzes, Nocturnes; Mendelssohn - Songs Without Words; Brahms – Intermezzi; Schubert –Impromptus; Schumann Op. 1, 2, 12, 15, 18, 19* 21, 23, 28; 82; Liszt - Consolations and other 19^th century compositions of comparable difficulty. 4) Contemporary/20^th Century: Debussy – Preludes, Children’s Corner, Suite Bergamasque; Bartok – Suite Op. 14, Allegro Barbaro; and other 20^th century compositions of comparable difficulty. Sight-Reading: Hymns and vocal accompaniments.

Solo Repertoire: Choose pieces from the following list or compositions equivalent in difficulty: 1) Baroque: Bach - Preludes and Fugues (WTC II), French Suites. 2) Classical: Sonatas by Haydn, Mozart and Beethoven. 3) Romantic: Mendelssohn – Variations Serieuse; Schubert – Impromptus, Sonatas; Schumann Op. 6, 7, 9, 26; Brahms – Variations, Liszt – Liebesträume, Concert Etudes; Hungarian Rhapsodies, and other 19^th century compositions of comparable difficulty. 4) Contemporary/20^th Century: Debussy –Preludes, Estampes, Images 1905, Suite pour le piano; Ravel – Sonatine; Prokofiev – Visions Fugitives, Sonata No. 3; Rachmaninoff – Preludes; Gershwin – Preludes; Albeniz – España; Ginastera – Danzas Argentinas; Messiaen – Preludes; Webern – Variations Op. 27; Crawford Seeger – Four Preludes; and other 20^th century compositions of comparable difficulty.

Sight-Reading: Vocal, choral and instrumental accompaniment.

Third Year: Continued study of scales and arpeggios at four notes to a beat (scales = 90-100, arpeggios = 80-90) and preparation of junior recital. Solo Repertoire: Choose pieces from the following list or compositions equivalent in difficulty: 1) Baroque: J.S. Bach - Preludes and Fugues (WTC with 4/5 vcs.), English Suites, Partitas, Chromatic Fantasy and Fugue, Fantasy and Fugue in a; Italian Concerto. 2) Classical: Sonatas by Mozart and Beethoven. 3) Romantic: Sonatas by Schubert; Mendelssohn, Schumann and Brahms; and other 19^th century compositions of comparable difficulty. Etudes by Chopin, Rachmaninoff, Scriabin, Liszt. Contemporary/20^th Century: Debussy - L’Isle joyeuse, Ravel – Miroirs, Valse Nobles et Sentimentales; Prokofiev – Sonata No. 3 Op. 28; Scriabin – Sonata No. 2 Op. 19, No. 4 Op. 30; Albeniz –Suite Española; Crumb – Dream Images, and other 20^th century compositions of comparable difficulty.

Jury Repertoire must include an etude and a twentieth century work.

Sight-Reading: Vocal, choral and instrumental accompaniment.

Fourth Year: Advanced study of scales and arpeggios at four notes to a beat (scales = 100-120, arpeggios = 90-100) and preparation of senior recital. Solo Repertoire: Choose pieces from the following list or compositions equivalent in difficulty: 1) Baroque: J.S. Bach - large works. 2) Classical: Late Sonatas by Mozart and Beethoven. 3) Romantic: Sonatas by Chopin, Schumann and Brahms; and other 19^th century composition of comparable difficulty. Etudes by Chopin, Rachmaninoff, Scriabin, Liszt, Bartók ,Godowsky & Debussy. Contemporary/20^th Century: Ravel –Le Tombeau de Couperin; Jeux d’Eau; Sonatas by Prokofiev; Ginastera, Scriabin, Copland, and Barber; Albeniz – Iberia (any piece); Crumb – Five Piano Pieces, and other 20^th century compositions of comparable difficulty.

Jury Repertoire must include an etude and a twentieth century American work. Sight-Reading: Vocal, choral and instrumental accompaniment and other larger chamber music works.

Requirements for Piano Performance Juries: Memorized scales and arpeggios and three selections of solo repertoire in contrasting styles from the following list. A movement of a standard piano concerto may replace two solo pieces during the semester of concerto jury. During the semesters of junior and senior recitals, the recital juries take the place of the regular juries.

· Major in Church Music –piano majors

Requirements for Entrance: Prospective students should perform by memory two compositions in contrasting styles in addition to scales, arpeggios, and sight-reading. Scales & Arpeggios: Major and minor (harmonic) scales up to three sharp and flat keys, four octaves of scales and arpeggios (triads) in parallel motion, played with hands together one octave apart, at four notes to a beat at a moderate tempo. Solo Repertoire: Choose two pieces in contrasting styles from the following list or compositions equivalent in difficulty: 1) J.S. Bach – Two part inventions; 2) Clementi – Sonatina Op. 36; 3) Chopin – Preludes Op. 28 (Any one) 4.)Bartok – Sonatina. Sight-Reading: Applicants may be asked to sight-read a simple song or four-part piece.

First and Second Years: Four octaves of all major and harmonic minor scales and arpeggios in parallel motion, played with hands together one octave apart, at four notes to a beat (scales = 60-80, arpeggios = 50-70). Solo Repertoire: Choose pieces from the following list or compositions equivalent in difficulty): 1) Baroque: J.S. Bach - Sinfonias, Preludes and Fugues (WTC I); two Sonatas by Scarlatti or Soler. 2) Classical: Early Sonatas by Haydn, Mozart and Beethoven (mvts. I/III; mvt. II has to be combined with either I or III). 3) Romantic: Chopin – Mazurkas, Waltzes, Nocturnes; Mendelssohn - Songs Without Words; Brahms – Intermezzi; Schubert –Impromptus; Schumann Op. 1, 2, 12, 15, 18, 19* 21, 23, 28; 82; Liszt - Consolations and other 19^th century compositions of comparable difficulty. 4) Contemporary/20^th Century: Debussy – Preludes, Children’s Corner, Suite Bergamasque; Bartok – Suite Op. 14, Allegro Barbaro; and other 20^th century compositions of comparable difficulty. Sight-Reading: Hymns and vocal accompaniment.

Third Year: All major and minor (natural, harmonic and melodic) scales one octave apart, and also in thirds, sixths, tenths, and chromatic scales = 80-90. Arpeggios: all major and minor arpeggios in triads, dominant and diminished seventh chords, in root position and inversions = 70-80. Solo Repertoire: Choose pieces from the following list or compositions equivalent in difficulty: 1) Baroque: Bach - Preludes and Fugues (WTC II), French Suites. 2) Classical: Sonatas by Haydn, Mozart and Beethoven. 3) Romantic: Mendelssohn – Variations Serieuse; Schubert – Impromptus, Sonatas; Schumann Op. 6, 7, 9, 26; Brahms – Variations, Liszt – Liebesträume, Concert Etudes; Hungarian Rhapsodies, and other 19^th century compositions of comparable difficulty. 4) Contemporary/20^th Century: Debussy –Preludes, Estampes, Images 1905, Suite pour le piano; Ravel – Sonatine; Prokofiev – Visions Fugitives, Sonata No. 3; Rachmaninoff – Preludes; Gershwin – Preludes; Albeniz – España; Ginastera – Danzas Argentinas; Messiaen – Preludes; Webern – Variations Op. 27; Crawford Seeger – Four Preludes; and other 20^th century compositions of comparable difficulty. Sight-Reading: Vocal, choral and instrumental accompaniment.

Fourth Year: Continued study of scales and arpeggios at four notes to a beat (scales = 90-100, arpeggios = 80-90) and preparation of senior recital. Solo Repertoire: Choose pieces from the following list or compositions equivalent in difficulty: 1) Baroque: J.S. Bach - Preludes and Fugues (WTC with 4/5 vcs.), English Suites, Partitas, Chromatic Fantasy and Fugue, Fantasy and Fugue in a; Italian Concerto. 2) Classical: Sonatas by Mozart and Beethoven. 3) Romantic: Sonatas by Schubert; Mendelssohn, Schumann and Brahms; and other 19^th century compositions of comparable difficulty. Etudes by Chopin, Rachmaninoff, Scriabin, Liszt. Contemporary/20^th Century: Debussy - L’Isle joyeuse, Ravel – Miroirs, Valse Nobles et Sentimentales; Prokofiev – Sonata No. 3 Op. 28; Scriabin – Sonata No. 2 Op. 19, No. 4 Op. 30; Albeniz –Suite Española; Crumb – Dream Images, and other 20^th century compositions of comparable difficulty. Jury Repertoire must include an etude and a twentieth century work. Sight-Reading: Vocal, choral and instrumental accompaniment.

Requirements for Church Music Piano Juries: Memorized scales and arpeggios and two selections of solo repertoire in contrasting styles at the end of each semester. A movement of a standard piano concerto may replace two solo pieces during the semester of concerto jury. During the semester of senior recital, the recital jury takes the place of the regular jury.

· Major in Music Education –Piano Majors

Requirements for Music Education Piano Juries: Memorized scales and arpeggios and two selections of solo repertoire in contrasting styles at the end of each semester. A movement of a standard piano concerto may replace two solo pieces during the semester of concerto jury. During the semester of senior recital, the recital jury takes the place of the regular jury.

Functional Piano Requirement: Piano majors must take MUS301, Advanced Functional Piano, and pass the jury exam.

· Major in Composition –piano majors

Requirements for Entrance: Prospective students should perform by memory at least two compositions in contrasting styles in addition to scales, arpeggios and sight-reading. Scales & Arpeggios: Major and minor (harmonic) scales up to three sharp and flat keys, four octaves of scales and arpeggios (triads) in parallel motion, played with hands together one octave apart, at four notes to a beat at a moderate tempo. Solo Repertoire: Choose two pieces from the following list or compositions equivalent in difficulty: 1) J.S. Bach - Sinfonia or a Prelude and Fugue (WTC I); 2) an Allegro movement from an early sonata by Haydn, Mozart, or Beethoven (e.g. Haydn - D Major, Hob. XVI: 37, Mozart - K. 282 or Beethoven - Op. 79; 3) Schubert - Impromptu Op. 142, No. 2; 4.) Khachaturian - Toccata. Sight-Reading: Applicants may be asked to sight-read a simple song or four-part piece.

First Year: Four octaves of all major and harmonic minor scales and arpeggios in parallel motion, played with hands together one octave apart, at four notes to a beat (scales = 50-60, arpeggios = 40-50). Solo Repertoire: Choose pieces from the following list or compositions equivalent in difficulty): 1) Baroque: J.S. Bach - Sinfonias, Preludes and Fugues (WTC I); two Sonatas by Scarlatti or Soler. 2) Classical: Early Sonatas by Haydn, Mozart and Beethoven (mvts. I/III; mvt. II has to be combined with either I or III). 3) Romantic: Chopin – Mazurkas, Waltzes, Nocturnes; Mendelssohn - Songs Without Words; Brahms – Intermezzi; Schubert –Impromptus; Schumann Op. 1, 2, 12, 15, 18, 19* 21, 23, 28; 82; Liszt - Consolations and other 19^th century compositions of comparable difficulty. 4) Contemporary/20^th Century: Debussy – Preludes, Children’s Corner, Suite Bergamasque; Bartok – Suite Op. 14, Allegro Barbaro; and other 20^th century compositions of comparable difficulty. Sight-Reading: Hymns and vocal accompaniment.

Second Year: All major and minor (natural, harmonic and melodic) scales one octave apart, and also in thirds, sixths, tenths, and chromatic scales = 80-90. Arpeggios: all major and minor arpeggios in triads, dominant and diminished seventh chords, in root position and inversions = 70-80. Solo Repertoire: Choose pieces from the following list or compositions equivalent in difficulty: 1) Baroque: Bach - Preludes and Fugues (WTC II), French Suites. 2) Classical: Sonatas by Haydn, Mozart and Beethoven. 3) Romantic: Mendelssohn – Variations Serieuse; Schubert – Impromptus, Sonatas; Schumann Op. 6, 7, 9, 26; Brahms – Variations, Liszt – Liebesträume, Concert Etudes; Hungarian Rhapsodies, and other 19^th century compositions of comparable difficulty. 4) Contemporary/20^th Century: Debussy –Preludes, Estampes, Images 1905, Suite pour le piano; Ravel – Sonatine; Prokofiev – Visions Fugitives, Sonata No. 3; Rachmaninoff – Preludes; Gershwin – Preludes; Albeniz – España; Ginastera – Danzas Argentinas; Messiaen – Preludes; Webern – Variations Op. 27; Crawford Seeger – Four Preludes; and other 20^th century compositions of comparable difficulty. Sight-Reading: Vocal, choral and instrumental accompaniment.

Requirements for Composition Piano Juries: Memorized scales and arpeggios and two selections of solo repertoire in contrasting styles at the end of each semester. Music may be used for the solo repertoire. No juries required during the semester of senior recital·

Piano Minors in All Degree Programs

Students minoring in piano will normally use the following two-year curriculum to meet the piano minor requirement: (Piano minors are optional)

First Year: Two octaves of all major scales and arpeggios in parallel motion, played with hands together one octave apart, at four notes to a beat (scales = 50, arpeggios = 40).

Solo Repertoire: Choose 2 pieces from the following list or compositions equivalent in difficulty:

· J.S. Bach – Two Part Invention

· Clementi – Sonatinas, Op. 36

· Chopin – Preludes Op. 28 (any one)

· Bartok – Sonatina

· Debussy – Arabesques.

Second Year: Four octaves of all major and (harmonic) minor scales and arpeggios in parallel motion, played with hands together one octave apart, at four notes to a beat (scales = 60, arpeggios = 50).

Solo Repertoire: Choose pieces from the following list or compositions equivalent in difficulty:

· J.S. Bach – Sinfonia or a Prelude and Fugue (WTC I)

· An Allegro movement from an early sonata by Haydn, Mozart, or Beethoven.

i.e.: Haydn - D Major, Hob. XVI: 37; Mozart - K. 282; Beethoven - Op. 79

· Schubert - Impromptu Op. 142, No. 2

· Debussy – Preludes (any one)

Jury Requirements: Minor juries are required to be taken during all spring semesters of piano study until the minor level is satisfied. However, students may request to take a piano minor jury in the fall if they wish to satisfy the requirements. Students are expected to perform scales and arpeggios by memory, and two solo selections in contrasting styles. Music may be used for the solo repertoire.

The music faculty will determine if the student has satisfied the minor level requirement in piano on the basis of the jury examination. The student will be notified by letter when he/she has met the minor level requirement.

· Major in Organ

Requirements for Entrance: Prospective students should perform at least two compositions in addition to technical exercises, scales, and sight-reading.

First Year: Technical requirements: studies in manual and pedal techniques in Gleason, Johnson, Peeters, and Nilson. Early works by Froberger, Pachelbel, Dandrieu and Bull. Buxtehude – Praeludia (Praeludium in F Major) and Chorale Preludes. Bach – Eight Little Preludes and Fuges, & Orgelbuchlein. 19^th century composers such as Mendelssohn, Brahms -Eleven Chorale Preludes, and Vierne -Twenty-four Pieces. 20^th Century American composers such as Rorem, Pinkham and Locklair. Hymn playing. Jury requirements: Fall: Bach – Chorale Preludes from Das Orgelbuchlein; One of the Eight Little Preludes and Fuges; prepare a hymn. Spring: Buxtehude – Praeludia; a contrasting work from a different period; sight read a hymn.

Second Year: Technical requirements: continuation of the above. Early works by Frescobaldi, Sweelinck, Du Mage and Clerambault. Buxtehude – Praeludia (Prelude, Fugue and Ciacona) or Lubeck – Praeludia. Bach – Little Fuge in G Minor, Prelude and Fuge in C Minor (BWV 549) or Toccata D Minor (BWV 565), Chorale Preludes from the Great Eighteen. Franck – Pastorale, Prelude, Fugue and Variation, and Cantabile. Reger – Thirty Short Chorale Preludes. Additional 20^th Century American Works by Persichetti and Rorem. Anthem Accompaniment. Jury requirements: Fall: Bach – a larger work such as the Little Fuge in G Minor; a contrasting work by an early composer; prepare an anthem accompaniment. Spring: Bach – a Prelude and Fuge; a contrasting work from a different period; sightread an anthem accompaniment.

Third Year: Early works by J. Praetorius, Scheidemann or D’Aquin. Buxtehude – Praeludia in F# Minor or G Minor. Bach – Trio Sonatas, Prelude and Fuge in G Major (BWV 541.) Mendelssohn – Sonatas. Widor – Symphonies (selected movements.) Works by Langlais, Messiaen, or Dupre. A large scale work by a 20^th Century American Composer such as William Bolcom or William Albright. Score reading and Transposition. Jury requirements: Fall: Buxtehude – Praeludia; a work from the Renaissance or Early Baroque; a 20^th century American work; prepare an unaccompanied anthem in open score; prepare a transposition of a hymn. Spring: Bach – Prelude and Fuge; a work from the Romantic Period; a 20^th century American work; read an unaccompanied anthem in open score, transpose a hymn at sight.

Fourth Year: Early works by Schlick, Byrd and Gibbons. Bruhns – Praeludia. Bach – Passacaglia (BWV 582), Prelude and Fuge in E-flat Major (BWV 552), Toccata, Adiago and Fuge (BWV 564.) Vierne – Symphonies (selected movements.) Tournemire – Movements from L’Orgue Mystique. Distler – Organ partitas. A large scale work by a 20th Century American Composer such as Organ Sonata – Vincent Persichetti. Improvisation. Jury requirements: Fall: Bach – Prelude and Fuge; a work from the Renaissance or early Baroque; a work from the Romantic Period; a 20^th century work; prepare a hymn improvisation. Spring: The student should be prepared to play their Senior Recital; improvise on a selected hymn.

· Major in Voice

Required Repertory:

This is a guide as each student will have individual needs. All repertory must be approved by the teacher. Generally, each student, should try to have five songs memorized each semester for one hour students and 3 for ½ hour students. While this is not absolute, all songs learned will be listed on the jury forms, and we should try to maintain this level of scholarship. If a student consistently does not learn enough repertory they will fail their jury and be dropped as majors. Repertory will be assigned appropriate for the age and ability of the singer. If voice is the secondary instruments, or the student is a non-major, requirements are entirely up to the teacher as is recital participation. However, Education Majors are required to perform and do juries each semester and if voice is the second instrument they need perform only once a year.

Repertory Guidelines: Entering students should perform at least two contrasting compositions. To enter the four-year course in voice, the student should be able to sing with a clear sound, on pitch, with good phrasing and musical perception in clear English. The students should also demonstrate their knowledge of the rudiments of music and their ability to sight-read a simple song. To be considered for a scholarship the student must show a voice of promise in two different languages. The student should have an elementary knowledge of the piano if at all possible.

First Year: Technical requirements: proper command of legato and breathing; improved ability in diction in English and Italian, consistent sound blending throughout the registers, and an understanding of the dynamic range of the voice. Vocalizes according to the need of the student and the repertory should be contrasting in both style and tempo. At least ten new songs required, five to be sung from memory, each semester. Christian classics, especially Spirituals, 16^th century English, and Italian arias, oratorio arias, Folk Songs, contemporary art songs or Broadway arias of moderate difficulty. Individual requirements including a recommended listening list of vocal repertoire may be assigned by the teacher.

Second Year: Continuation of everything above and begin studies in coloratura technique and/or accompanied and secco recitatives and at least one Oratorio aria by Mendelssohn, Handel, Haydn or Mozart. Begin the study of German lieder; simple operatic arias; and add American repertoire, such as Copland, or Barber.

Third Year: Continuation of everything above and add a coloratura aria with a secco recitative. Study more advanced German lieder and add French art songs. More difficult operatic arias; arias from the vocal works of J.S. Bach; more difficult contemporary songs; Russian and/or Spanish songs. Junior recital.

Fourth Year: Preparation of senior recital. The recital should include the major representative works from song and opera literature. Participation in Chamber Music, Opera Workshop, or Early music ensemble is required in the senior year is suggested each year of attendance

· Major in Horn

Requirements for Entrance: Prospective students should perform at least two compositions in addition to technical exercises, scales, and sight-reading. Admission is contingent upon the audition, which is held for each incoming freshman.

First Year: Technical requirements: all major and minor scales, study of the transpositions commonly used for horn. Maxime-Alphonse Method, Book 3; Pottag-Andraud Method, Book 1. Solo material of the difficulty of Mozart, Concerto No. 2.

Second Year: Continuation of transpositions; orchestra excerpts. Maxime-Alphonse Method, Book 4; Pottag-Andraud Method, Books 1 and 2. Solo material of the difficulty of Mozart, Concerti No. 1 and 3.

Third Year: Continuation of orchestral studies; Maxime-Alphonse Method, Book 5; Pottag-Andraud Method, Book 2. Schumann - Adagio and Allegro; R. Strauss - Concerto No. 1; Hindemith - Concerto for Horn and Sonata for Horn; solos by Stevens and Beversdorf.

Fourth Year: Continuation of orchestral studies. Maxime-Alphonse Method, Book 6; Reynolds - Forty-two Etudes; Mozart - Concerto No. 4; R. Strauss - Concerto No. 2; Gliere - Concerto; solos by Jacob and Tomasi and other works of comparable difficulty.

· Major in Trombone

First Year: Technical requirements: development of embouchure, breathing, staccato, and legato tonguing; tenor clef reading. Arban and Cornette methods; Bordogni-Rochut, Melodious Etudes, Vol. 1; Mantia, The Trombone Virtuoso. Paris Conservatoire solo material by Barat, de la Nux, Busser, Croce-Spinelli, and others of comparable difficulty.

Second Year: Technical requirements: continuation of tenor clef and introduction of alto clef reading. Continuation of Bordogni-Rochut and manti studies; clef studies by Blazevitch, Stefaniszin; LaFosse, School for Sight-reading, Vol. A-B; Kopprasch, Selected Studies, Vol. 1. Solo material from Solo Book No. 1 (E. Glover), Paris Conservatoire solos by Busser, Pfieffer, and Saint-Saens; Galliard, Six Sonatas; Blazevitch, Concert Piece No. 5; and works of comparable difficulty. Passages from the orchestral repertoire.

Third Year: Continuation of clef studies; LaFosse, Vol. C-E; Bordogni-Rochut, Melodious Etudes, Vol. II; Kopprasch, Selected Studies Vol. II; Vobaron, 34 Etudes; Aaron Harris, Method, Vol. II; Kreutzer-Schaefer, 10 Etudes. Solo material from Solo Book No. 2 (E. Glover); solos by Guilmant, Sonatas; Handel-LaFosse, Concerto in F minor; Hindemith, Sonata; and works of comparable difficulty. Passages from the orchestral repertoire.

Fourth Year: LaFosse, Advanced Method, Vol. II. Bordogni-Rochut, Melodious Etudes, Vol. III; Blazevitch, Equences. Etudes by Bitsch, Bozza, Boutry, and Pichaureau. Bach--LaFosse, Suites for Unaccompanied Violincello; solos by Defay, Berghmans, Salzedo, and Tomasi. Creton, Fantasy; Bloch, Symphony; Takacs, Sonata; Martin, Ballade; Corello-Gibson, Sonata in D minor; and works of comparable difficulty. Passages from the orchestral repertoire.

· Major in Trumpet

First Year: Emphasis on fundamental techniques of tone production and articulation. Studies of Arban, Clarke, Sachse, and Scholossberg. Solos by Balay, Bozza, Goedicke, Hovhaness, Nelhybel, and Purcell.

Second Year: Emphasis on transposition and solo repertoire. Studies of Bousquet, Brandt, Sachse, and Bartold. Solos of Barat, Corelli, Frackenpohl, Haydn, Kennan, Peeters, and Copland.

Third Year: Emphasis on solo and orchestral repertoire. Use of the C and D trumpets. Studies of Bartold, Brandt, Charlier, and Harris. Solos of Bozza, Enesco, Giannini, Hindemith, Hummel, Kaminski, Riisager, and Torelli in preparation of a junior recital.

Fourth Year: Continuation of solo and orchestral repertoire. Studies of Bartold, Bitsch, Charlier, Petit, and Tomasi. Solos of Addison, Bitsch, Honegger, Pakmutova, Stevens, and Telemann in preparation of a senior recital.

· Major in Tuba

First Year: Technical requirements – development of embouchure, breathing, staccato, and legato tonguing. All major scales. Etudes by Fink, Tyrell, Blazevich. Solos by Bach, Haddad, Holmes, and works of comparable difficulty.

Second Year: Technical requirements – all major and minor scales. Etudes by Bordogni-Rochut, Kopprasch and Blazhevich. Solos by Barat, McKay, Hogg, Childs, and works of comparable difficulty. Passages from the orchestral repertoire.

Third Year: Technical requirements – all major and minor scales. Etudes by Bordogni-Rochut, Sear, Ostrander. Solos by Morris, Vivaldi, Ross, Hartly and works of comparable difficulty. Passages form the orchestral repertoire.

Fourth Year: Technical requirements – All major and minor scales, scales in thirds and fourths. Etudes by Maenz, Bordogni-Rochut and Kopprasch. Solos by Stevens, Tomasi, Vaughan Williams, Hindemith and works of comparable difficulty. Passages from the orchestral repertoire.

· Major in Violin

Requirements for Entrance: Prospective students should perform at least two compositions in addition to technical exercises, scales, and sight-reading. To enter the four-year course in violin, the student should be able to play three octave major and minor scales and arpeggios, at moderate speed. The student should also have the ability to perform works with the difficulty of the Kreutzer Etudes and concerti by Viotti, Nardini, Vivaldi, and J.S. Bach. Elementary knowledge of the piano desirable.

First Year: Technical requirements: further facility in major and minor scales and arpeggios. This is a requirement for each of the four years of the undergraduate curriculum. Studies by Dont, Mazas, and Kreutzer. Concerti by J.S. Bach, Kreutzer, Nardini, Rode, and Viotti. Sonatas by Corelli and Handel; works of comparable difficulty.

Second Year: Studies by Fiorillo, Kreutzer, and Rode. Concerti by de Beriot, Haydn, Mozart, Rode, Spohr, and Viotti. Sonatas by Leclair, Mozart, and Nardini. Solo pieces by Beethoven and Kreisler.

Third Year: Studies by Campagnoli, Dont, Fiorillo, and Rode. Concerti by Bruch, Mendelssohn, Mozart, and Spohr. Sonatas by J.S. Bach, Beethoven, Mozart, and Vivaldi. Passages from the orchestra repertoire.

Fourth Year: Advanced technical studies by Gavinies, Rovelli, and Wieniawski; preparation of senior recital. Concerti by Barber, Beethoven, Dvorak, Lalo, Paganini, Saint-Saens, Vieuxtemps, and Wieniawski. Sonatas by J.S. Bach, Beethoven, Brahms, Franck, Faure, and Schubert. Solo pieces by Bartok, Chausson, Saint-Saens, Sarasate, Vitali, and Wieniawski. Passages from the orchestral repertoire.

· Major in Guitar

First Year: Diatonic major and minor scales in open positions, two and three octaves; Barrer; simple pieces by Sor, Carcassi, Giaulianni, Carulli, and Renaissance or contemporary composers; proper nail care; use of free and rest strokes.

Second Year: Dynamic technique; simple pieces by the above mentioned composers.

Third Year: Completion of scales -- Barrer and dynamic techniques; pieces by Bach; short sonata; Preludes, Etudes by Villa-Lobos.

Fourth Year: One sonata by a classic composer; a suite by Bach, Weiss, etc.; Theme and Variations from Classical or early Romantic period; two pieces of suitable length, one by a Renaissance composer and another by a contemporary composer.

· Major in Clarinet

First Year: Technical requirements: through study of major and minor scales and arpeggios with different articulations. Perier - Le Debutant Clarinettiste. Rose - 3 books. Clerisse - Promenade. Gade - Fantasiestucke. Stamitz - Concerto in E Flat. Mozart - Concerto in A. Weber - Variations.

Second Year: Technical requirements: major and minor scales and arpeggios with increased speed; major and minor scales in thirds; chromatic scales; transposition for A clarinet. Blancou - Forty Etudes. Jean-Jean - Books I and II. Schumann - Fantasiestucke. Weber - Concerto No. 1. Williams - Six Studies in English Folk Song. Brahms - Sonata No. 2 (or comparable works).

Third Year: Technical requirements: review of previous work with increased speed; augmented, diminished, seventh arpeggios; continued transpositions at various intervals. Cavallini - Thirty Caprices. Jean-Jean - Book III. Bitsch - Twelve Etudes of Rhythm. Weber - Grand Duo Concertante. Debussy - Premiere Rhapsodie, Spohr - Concerto No. 1. Brahms -Sonata No. 1. Saint-Saens - Sonata.

Fourth Year: Technical requirements: review of previous work with increased speed and with more difficult articulation; whole tone scales; continued transpositions at various intervals. Stark - The Art of Transposition (Rahter, 2 vols.), Orchestral Studies. Weber - Concerto No. 2. Hindemith - Sonata. Copland - Concerto. Reger -- Sonata in F# (or in B flat). Stamitz - Concerto for Clarinet and Strings. Stravinsky - Three Pieces (or comparable works).

· Major in Saxophone

First Year: Development of sound, technique, and musical interpretation. Technique - scales, arpeggios, long tone studies, Klose, Voxman, Ferling, Teal. Repertory examples: Teal, Solos for the Alto Saxophone; Bach and Handel transcriptions, Lantier, Sicilienne; Bozza, Aria.

Second Year: Continual development of sound, tecnhique, and musical interpretation. Technique - scales, arpeggios, long tone studies, Ferling, Rascher, Teal. Repertory examples: Mauk, Medici Masterworks for Alto Saxophone; Platti, Sonata No. 5; Eccles, Sonata; Hindemith, Sonata.

Third Year: Continual development of sound, technique, and musical interpretation. Technique - scales, arpeggios, long tone studies, Mule, 53 Etudes after Boehm, Terchak, Furstenau Vol. 1, Dufresne, Karg-Elert, Bozza. Repertory examples: Creston, Sonata; Heiden, Sonata; Glazunov, Concerto.

Fourth Year: Continual development of sound, technique, and musical interpretation. Technique - scales, arpeggios, long tone studies, Mule, 53 Etudes after Boehm, Terchak, Furstenau Vol. 2. Repertory examples: Bozza, Improvisation and Caprice; Bonneau, Caprice en Forme de Valse.

· Major in Flute

Requirements for Entrance: Prospective students should perform at least two compositions of contrasting style, scales and arpeggios, and sightreading. Admission is contingent upon the audition, which is held for each incoming freshman.

First Year:

Scales and Arpeggios: Two-octave scales and arpeggios in all major keys; three-octave chromatic scale

Technical Studies/Etude/Method books:

Andersen op. 41; Berbiguier 18 Etudes; Cavally Melodious and Progressive Studies, book I; Clardy Flute Fundamentals; Gariboldi Etudes; Hovey Daily Exercises for Flute; Moyse 24 and 25 Little Etudes; Soussmann Complete Method for Flute; Vester 100 Classical Studies; Webb and Thorson Building the Tone from the Bottom Up; Wye Practice Books (tone, vol. I)

Solo Repertoire:Devienne Concerto in D major; Faure Fantaisie; Gluck Dance of the Blessed Spirits; Handel Sonatas; Telemann Sonatas and Suite in A minor; Quantz Concerto in G major

Duets, Trios, Quartets, Flute Choir: Beethoven; Boismortier; Mozart; Quantz; Telemann; etc.

Second Year:

Scales and Arpeggios: two-octave scales and arpeggios in all major and minor keys; three-octave chromatic scale. Technical Studies/Etude/Method books:Altes 26 Selected Studies; Andersen op. 33; Cavally Melodious and Progressive Studies, book II; Karg-Elert 30 Caprices; Moyse De La Sonorité, Wye Practice Books.

Solo Repertoire:C.P.E. Bach Sonata in A minor for solo flute; J.S. Bach Sonatas in E-flat major, C major, and G minor, Suite in B minor; Chaminade Concertino, Debussy Syrinx; Doppler Hungarian Fantasy; Handel Sonatas; Honegger Danse de la Chevre; Hummel Sonata in D major; Mozart Concerto in G major; Muczynski Three Preludes for solo flute; Telemann Twelve Fantasias.

Duets, Trios, Quartets, Flute Choir:Beethoven Trio; Boismortier; Haydn London Trios; Kuhlau Duets, Trios; Kummer Flute Trio; Loeillet Trio Sonata in E minor; Reicha; Telemann Tafel Musik.

Third Year:

Scales and Arpeggios: two-octave scales and arpeggios in all major and minor keys with all articulations, double tongue, triple tongue; three-octave chromatic scale, with all articulations, double tongue, triple tongue.

Technical Studies/Etude/Method books: Andersen op. 24; Drouet Etudes; Fürstenau 26 Exercises; Hughes op. 75; Karg-Elert 30 Caprices; Piazzola Tango Etudes; Taffanel/Gaubert 17 Daily Exercises.

Solo Repertoire: C.P.E. Bach Hamburg Sonata, Concerto in D minor; J.S. Bach Sonatas in A major and E major; Enesco Cantabile et Presto; Griffes Poem; Hindemith 8 Pieces for Solo Flute, Sonata; Hoover Kokopeli for solo flute; Hüe Fantaisie; Karg-Elert Sonata Appassionata for solo flute; Kuhlau Fantaisies for solo flute; La Montaine Sonata for solo flute; Mozart Concerto in D major; Reinecke Undine Sonata.

Duets, Trios, Quartets, Flute Choir: Bozza Flute Quartet; Doppler; Ibert Two Interludes; Kuhlau Quartet; Mozart Flute Quartets; Muczynski Duets; Reicha Flute Quartet, Rossini Wind Quartets.

Orchestral Excerpts:Major orchestral flute solos (Bach, Bartok, Beethoven, Brahms, Debussy, Dvorak, Hindemith, Mendelssohn, Prokofieff, Ravel, Rossini, Saint-Saëns, Strauss, etc.)

Fourth Year:

Scales and Arpeggios: two-octave scales and arpeggios in all major and minor key with all articulations, double and triple tongue, three-octave chromatic scales, with all articulations.

Technical Studies/Etude/Method books:Casterede Twelve Studies; Jean-Jean Etudes; Karg-Elert 30 Caprices; Paganini 24 Caprices; Reichert Daily Studies; Taffanel/Gaubert 17 Daily Exercises.

Solo Repertoire: J.S. Bach Sonatas in E and B minor; Boehm Air Varie de La Molinara; Bozza Image for solo flute; Copland Duo; Feld Introduction, Toccata, and Fugue for solo flute; Hoover Winter Spirits for solo flute; Ibert Concerto; Kuhlau Six Divertissements; Martinu Sonata; Prokofieff Sonata; Reichert Fantaisie Melancolique; Schubert Introduction, Theme and Variations; Taktakishvilli Sonata; Varèse Density 21.5 for solo flute.

Duets, Trios, Quartets, Flute Choir: Heiss Trio; Hoover Duets and Trio; Hughes Duets; Kuhlau Duets; Rossini Wind Quartets; advanced flute quartets, flute choir.

Orchestral Excerpts:Major orchestral flute solos (Bach, Bartok, Beethoven, Brahms, Debussy, Dvorak, Hindemith, Mendelssohn, Prokofieff, Ravel, Rossini, Saint-Saëns, Strauss, etc.)

· Major in Baroque Recorder

Incoming students who desire to major in Recorder should be able to demonstrate slurred half-scales and arpeggios throughout the range of the instrument, using standard fingering, and should. The demonstrate good finger technique and posture, the ability to sustain tones without wavering for a reasonable length of time, the ability to match pitches with other players, and the ability to sight-read soprano or alto material in the treble clef. S/he should present at least two selections for soprano or alto recorder.

The following selections, or their equivalents, will lead to the Performance Degree in Baroque Recorder.

FRESHMAN: Soprano: Kallay: Key Exercises for descant recorder (EMB), Morley: Madrigals for Two Voices; Bach: Arrangements for Soprano or Tenor with guitar accompaniment; Van Eyck: Der Fluyten Lust-Hof – Doen Daphne, Amarilli. Alto: Monkmeyer: Advanced School of Recorder-Playing (Moeck), Telemann: Sonata in F Major, Handel: Sonata in G minor.

TECHNIQUE BENCHMARKS TO BE ADMITTED TO SOPHOMORE STANDING: 1.Demonstrated ability to hold recorder correctly and keep fingers within a short distance of the keys: head down, recorder up, relaxed; 2.Demonstrated ability to play long tones without wavering; 3.Demonstrated ability to get lower and higher tones on recorder with good articulation, thumb position, and tone; 4. Demonstrated ability to play upper-intermediate recorder repertoire (2 selections); 5.Demonstrated ability to play S,A in recorder or mixed consort

SOPHOMORE: Soprano: Kallay, Key Exercises for descant recorder (EMB), Der Fluyten Lust-Hof – Psalm 50, Phantasia Tenor: Satie: Gymnopedie, #1, 2, or 3; Alto: Monkmeyer: Advanced School of Recorder-Playing (Moeck), Hans-Martin Linde: Modern Exercises for Treble Recorder (Schott), Bach: Wachet Auf (solo from the Cantata, complete) Handel: Sonata in F major.

TECHNIQUE BENCHMARKS TO BE ADMITTED TO JUNIOR STANDING: 1. Demonstrated ability to play Handel Sonatas of intermediate difficulty with appropriate articulations, restrained vibrato and correct ornamentations. 2. Demonstrated ability to play chromatic scales (Monkmeyer, 79) in pitch. 3. Demonstrated ability to play S, A, T in recorder group or mixed consort, Renaissance or Baroque music. 4. Demonstrated ability to play Baroque trills, using alternate fingerings as necessary, 2 selections taken from the Sophomore Alto repertoire, played from memory.

JUNIOR: Soprano: Paubon, Pierre: Etudes Melodiques, 2^nd Vol. (Leduc) Der Fluyten Lust-Hof, Alto: Kees Boeke, The Complete Articulator, Heyens/Bowman, Advanced Recorder Technique, Vol. II, Bach: Brandenburg Concerto, #2, Handel: Sonata in Bb Major, Barsanti: Sonata in F major Bass: Marcello: Sonata 1, for Bass Recorder and Continuo (Arcadian Press) Demonstrated ability to play SATB in recorder or mixed consort and to read Bass clef.

TECHNIQUE BENCHMARKS TO BE ADMITTED TO SENIOR STANDING: 1. Advanced Scales and Arpeggios in all major and minor keys at 3 speeds, 2. Demonstrated articulations in single and double-tonguing, using different vowels, 3. Demonstrated use of alternate fingerings and finger vibrato, 4.Two selections taken from the Junior alto repertoire, played by memory.

SENIOR: Sopranino: Vivaldi: One movement from the C major Concerto for Flautino; Handel: Bb Major Sonata; Soprano: Sammartini: Concerto in F Major; Van Eyck, English Nightingale; Tenor: One movement from a C major Sonata or Concerto; Alto: Kees Boeke, The Complete Articulator, Heyens/Bowman, Advanced Recorder Technique, Vol. II, Bach: Brandenburg Concerto #4, 1^st or 2^nd recorder part, Barsanti: Sonata in C major Handel: Sonata in D minor, “Furioso”; Bruggen: Studies. Bass: Demonstrated ability to play continuo for Handel Sonata. GRADUATION REQUIREMENT: Recital should consist primarily of advanced music for one or two instruments.

PERFORMANCE OPPORTUNITIES

MUSIC ENSEMBLES

Music majors are required to participate in one of the following musical organizations each semester they are enrolled full-time in the program: Chorale. However, it is valuable experience for students to participate in more than one organization. Students may register for an ensemble for either 0 or 1 credit.

Participation in music ensembles provides not only the development of musical skills, but training in working together as an ensemble as well. With the exception of extreme cases, which are usually health related, attendance at all rehearsals and performances of the ensemble for which the students is registered is required.

· MUS 161, 162 Chorale

The Chorale is composed of approximately 75 men and women, selected by audition at the beginning of each semester. The repertoire includes major works and selected choral literature from major historical periods and styles. Activities include Christmas and Spring concerts, chapel performances, campus and community appearances, and occasional national or international tours.

· MUS 266 Percussion Ensemble

Percussion ensemble utilizing a wide array of instruments such as marimba, vibraphone, xylophone, snare and bass drum, cymbals, timpani, orchestral percussion, drum set, congas, bongos, tabla, and berimbau. Includes a wide range of styles including contemporary percussion works, Brazilian samba, Afro-Cuban, and transcriptions ranging from string quartets to ballet music to jazz. May include piano, guitar, bass, and winds.

· MUS 268 Small Jazz Ensemble

Study and participation of the instruments in the band together with practical work in scoring. An instrumental performance based course, including a study of jazz harmony, improvisation, and performance practices based on selected repertoire covering a wide variety of jazz styles.

· MUS 362-Collegium Musicum

Ensemble that specializes in instrumental and vocal music from the Medieval through the Baroque periods. Repertoire is chosen from a different area of concentration each semester, such as Renaissance madrigals and motets, Baroque opera, concerti grossi, and anthems by Purcell and Handel. Instruments include strings, woodwinds, recorders, harpsichord, organ, guitar, and some percussion.

· MUS 365-Opera Theater Workshop

The study and performance of chamber operas, one-act operas, scenes from major operas, and selected Broadway musicals. Open to all students.

TOURING OPPORTUNITIES

Students have various opportunities, regionally, nationally and internationally, for concert tours and performances during their college experience. The Nyack College Chorale alternates regional and international tours during spring breaks. The Chorale tours Italy spring break of 2009 and in the past four years have represented Nyack College in Puerto Rico and Korea. The Chorale has presented many concerts in the New York metropolitan area. Students in Chorale are required to purchase the Chorale uniform.

CONCERT ATTENDANCE

All full time Music Majors in all degree programs are required to attend a minimum of five on campus and off campus recitals every semester. These programs are intended to enrich the academic program and may include student and faculty recitals, performances featuring Nyack College ensembles, and two off-campus classical or Jazz performances. Our location in the New York metropolitan area enables students to attend outstanding performances at Carnegie Hall, Lincoln Center, cathedrals and churches, including the New York Philharmonic, Metropolitan Opera, New York City Opera, resident ballet companies, and solo and chamber music programs. Students in all music degree programs (B.A., B.M., B.M.E., S.M.B.) are required to keep track of the concerts they attend each semester. The Music Office will supply students with a Concert Attendance Form to be filled out and turned in at the end of each semester.

STUDENT RECITALS

Recitals are an exciting opportunity for students to demonstrate the talents and abilities God has given them as well as an opportunity for development and growth as a performer. This valuable experience will give the student the opportunity to learn about stage presence, handling stage pressures, communicating effectively with the audience and becoming more relaxed with the physicality of performing.

Students majoring in music (except for the BA in Music majors) are required to perform in at least one Student Recital each semester in their major applied area.

The School of Music and the private instructors will serve the student in a supportive capacity. Attention to the details below will assure smooth and orderly preparation, and should go a long way in making the recital experience effective and enjoyable.

RECITAL PREPARATION

· Teachers sign up their students for recitals on the form provided by the Music Office.

· Students may not add or delete selections from the program without the teacher’s approval.

· For students using accompanists, teachers are required to hear them perform with their accompanist before the recital.

· Once the program is submitted, only faculty may make changes or cancellations.

· Vocalists and pianists are required to memorize recital music. Other performers should consult with their teacher regarding memorization.

· Teachers will coach students concerning stage etiquette. (Please see following.)

STAGE ETIQUETTE/ PERFORMANCE SUGGESTIONS

· The soloist, regardless of gender, always precedes the accompanist when entering the stage. When exiting the stage, the accompanist always follows the soloist.

· The soloist’s entrance is made with a moderately quick, but graceful walk to a definite spot.

· When a soloist reaches their spot, if greeted by applause, s/he acknowledges the courtesy with a graceful bow. The soloist then positions him/herself with the proper stance for his/her performance.

· When the audience is quiet and ready to listen, a slight nod is given to the accompanist as a signal to begin.

· During any introductions or interludes, the soloist maintains an attentive attitude at all times.

· The mood of the song is reflected in the general manner of the soloist’s performance. The performer should try to “look like the music.”

· When singing, the soloist should try not to stare at any one person or spot as well as not glance about in a nervous, restless manner.

· At the end of a selection or performance, the soloist should not bow until applause begins.

· An encore is not sung or played unless the audience applause calls for one.

Encore selections will be pre-approved by the faculty.

· The performer should be in control, poised, with an air of dignity and sincerity. If the performer appears ill at ease or nervous, the audience will certainly feel uncomfortable. The best way to learn good stage deportment is to watch the stage presence of seasoned professional performers. Modest assurance is the ideal manner, and nothing will give a performer that assurance like intelligent practice and skill.

· All recital attire is to be modest and appropriate to the occasion, as well as subject to the approval of the private instructor. One change of attire will be permitted during a recital.

JUNIOR AND SENIOR RECITALS

Performance majors must present a Junior Recital in their third year to be comprised of one-half hour of music and a Senior Recital in the fourth year to be comprised of 60-75 minutes of music. Students enrolled in the Music Education and Church Music programs are required to present a Senior Recital one-half hour in length prior to graduation. Composition Majors will present a Senior Recital (one hour in length) of original compositions organized, conducted or performed by the student.

The following are important steps in preparing for Junior and Senior Recitals:

1. Recital Date (Set date before the beginning of the semester the recital is given)

In consultation with the private instructor, a date will need to be determined which will afford the best possible audience. This date should be set at the very beginning of the semester the recital is taking place to take advantage of the available openings on the college calendar. It is the responsibility of the student to secure a recital date through the Music Office.

2. Reserve 6^th Floor Theatre (or other auditorium as soon as recital date is set.)

Aside from reserving the hall for the recital alone, it is highly recommended that the student reserve the hall for one dress rehearsal with the private instructor as well.

3. Accompanists (Arrange for accompanist 3 months before recital.)

Instrumentalists and vocalists requiring accompanists for their recital are personally responsible for making these arrangements. Arrangements for accompanists should be made at least three (3) months in advance of the recital. Use of non-college persons as accompanists, assisting artists, etc., must be approved by the School of Music. The School of Music will assist in arranging for an accompanist when necessary. (Please ask the Music Administrative Assistant for an appropriate donation or fee for the use of an accompanist. If there is no fee an appropriate gift is suggested.)

* It is essential to work out a rehearsal schedule with the accompanist and private instructor at least two (2) months prior to the recital. Since the accompanist will be giving both time and professional expertise, it is important to acknowledge this in some manner. The student should ask the accompanist what their fee is for rehearsals and the recital. That is true whether the accompanist is college faculty, a student, or a guest.

4. House and Technical Assistants (Make arrangements one month before the recital.)

Students are responsible for organizing ushers, stage help and other personnel needed for the recital.

The Music Office must be consulted concerning who has been approved to run the sound, recording and lighting equipment. Only students who have been approved may run the equipment, and it is customary that they will charge a fee for their services. If a video or audio recording of the recital jury and/or performance is desired, it is the student’s responsibility to make these arrangements. This feedback will be invaluable for reviewing the performance. Audiotapes, videotapes and CD recordings may also be included in a professional portfolio.

5. Receptions (Reserve room and make arrangements one month before the recital.)

Students who choose to have a reception on the 6th Floor Theatre following their recital are responsible for coordinating the reception, and assuming the cost of the food and paper-ware. The room must be returned to its proper classroom configuration following the reception. Garbage must be secured in heavy-duty garbage.

6. Recital Jury (Must take place four weeks before the recital.)

Four weeks prior to the recital date, recitalists will perform a recital jury before the music faculty. The jury date is to be arranged eight weeks before the recital through the Music Office. The purpose of the recital jury is to ensure that the repertoire is fully prepared and meets the curricular standard. If the student is unprepared for the recital jury, the recital may be postponed to a later date at the discretion of the faculty.

Vocalists, keyboardists and guitarists must be prepared to perform the complete recital jury and recital from memory. For the jury, at least 2/3 of recital material should be memorized.

The recital jury is not a dress rehearsal. The playing time in the juries will be limited to 20 minutes for junior recitals, and 30 minutes for senior recitals. Students are required to provide the jury with a completed jury form and the first draft of their recital program, which have been reviewed by their private instructor. The faculty will select the pieces to be performed during the recital jury.

No additions to the program will be permitted subsequent to the approved recital jury without the permission of the music faculty.

7. Programs (First draft presented to faculty at jury; print program one week before the recital.)

Students are encouraged to create their own recital programs. The Music Office can assist the student with the proper formatting of a recital program. (An example of a well-presented recital program can be found in the appendix of this handbook.) The Music Office can provide the student with the use of the copier and stock paper. The School of Music must approve all programs and materials before they can be duplicated and distributed.

8. Publicity (All publicity projects completed two weeks before the recital.)

Good attendance at the recital is a direct result of good publicity (e.g., posters, announcements in the Broadcaster, personal invitations, etc.). This publicity is the responsibility of the student, although the School of Music may be able to assist in some areas. The copy machine and stock paper are available for use for publicity projects.

GUIDELINES FOR SCHEDULING A JR/SR RECITAL JURY

& RECITAL PREPARATION CHECKLIST

This form has been developed to facilitate the process of scheduling the required jury for a Junior or Senior recital, and for assisting the student in making recital arrangements.

Recitalist: _____________________________

Accompanist___________________________

Private Teacher: ________________________

If you are a Junior or Senior and must complete a recital you will be given a recital date several months beforehand.

The Music Office will ask two other music faculty in addition to your private instructor to attend the jury, and will notify you of who will attend your jury by returning this form to you.

The Music Office has scheduled these faculty members to be present at the jury:

_________________________ _________________________ _____________________________

If a change is made to the day/time you scheduled your jury, the process stated on this form will need to be repeated.

The below list must be reviewed by your private lesson teacher ahead of time, and presented to the faculty at your scheduled jury:

Recital Preparation Checklist
*Recommended Timeframe:*	*Task:*	*Completed:*
Beginning of semester	Set recital date/Reserve auditorium
3 months before recital	Arrange for an accompanist
8 weeks before recital	Set jury date (use form above)
1 month before recital	Arrange for house and tech assistants
	Plan reception and reserve room
4 weeks before recital	Perform recital jury
	Present first draft of recital program
2 weeks before recital	All publicity projects completed
1 week before recital	Print recital program

SCHOLARSHIPS, AWARDS AND GRANTS

Scholarship awarding is highly competitive at Nyack College and awarding of these monies is administered using various criteria. In addition to the grants listed in the Nyack College Catalog, the following scholarships are awarded specifically to outstanding music majors who demonstrate discipline, achievement and high academic standing:

· Music Achievement Grants - awarded to freshman or first semester transfer music majors on the basis of their entrance audition, renewable for up to 4 years provided a minimum GPA of 2.5 is maintained.

MUSIC EDUCATORS NATIONAL CONFERENCE

(The National Association for Music Education)

Nyack College maintains an active student chapter of Music Educators National Conference (MENC), a national organization devoted to the field of Music Education. Music Education majors are encouraged to join MENC during their freshman year. Membership includes a valuable subscription to the Music Educators Journal, a monthly periodical. Nyack’s MENC chapter also sponsors field trips, professional workshops, fund raising activities, concerts and guest lecturers on campus.

COPYRIGHT LAWS

The School of Music is totally committed to compliance with United States copyright laws as they concern printed and recorded music. Faculty, staff and students are expected to understand copyright laws and refrain from illegal photocopying or recording. Older printed music not having a copyright notice is often in the Public domain and may be freely copied. Most music of the 20th century is copyrighted and cannot be photocopied or arranged without permission from the publisher. Contact the Music Office for more information.

SPECIFIC JOB DESCRIPTIONS IN MUSIC

ATTORNEY, MUSIC BUSINESS

Music law as it is practiced today involves a heavy emphasis on copyright and contract relationships between creative people and users of music in popular and standard areas. Typical of a day's work are the negotiation of a recording artist contract between an artist and recording company; a long-term management or agent agreement; a termination or amendment of a previous agreement; a musical synchronization license from music publisher to motion picture company; and assertion through audit (in conjunction with accountants) of royalty claims of a composer against a music publisher.

COMMUNITY ARTS MANAGER

The basic challenge of the community arts manager is to integrate fully the arts into the social and economic fabric of his or her community. In a fiscal environment of competing priorities, the arts program must serve real needs and get a response from a strong constituency or it will not survive long. The manager must identify the various segment of a community, whether business, educational, youth, political, or religious. He or she must determine their needs and interests, and incorporate these values and needs into a viable program. The manager must, therefore, possess some working knowledge of governmental and community processes and be able to translate the benefits and the needs of the arts into concepts that are easily grasped by these community forces

COMMUNITY DEVELOPMENT SPECIALIST

As a behavioral science, community development owes its origin to the fields of education and social work. Community development activities include efforts to improve environments, descriptive studies, efforts with political motivation, efforts with religious motivation, and educational processes. Every activity contributes to one of two kinds of betterment: (1) changes in people's local, regional, and national environments through services and amenities; and (2) people becoming open to change and self-reliant, responsible, self-directing decision makers.

COMPOSER

Composing requires you to develop as wide a range of skills as possible in addition to your compositional training. A composer, like a conductor, should have a broad, eclectic music background: solid performance skill on at least one instrument, thorough training in theory and music history (subjects you may very likely be teaching, at least at the beginning of your career), a practical working knowledge of instrumentation - in short, an undergraduate major in music and as much graduate work in composition as you can afford. A number of institutions offer first-rate doctoral programs in composition. It would be a good idea to investigate the requirements and offerings of such schools.

COMPOSER, EDUCATIONAL

The term "educational composer" is commonly used to describe one who composes performance music and instructional materials for beginning, intermediate, and advanced students. Performance music includes works for all media, including concert bands, orchestras, choirs, jazz bands, marching bands, and various smaller ensembles. Instructional material includes method books that teach instrumental and vocal techniques, sight-reading, solo interpretation, theory, and all other areas of musical learning. Both areas include works for beginning, intermediate, and advanced students.

CONDUCTOR

The career of a conductor can be associated with a wide spectrum of activities and responsibilities. At the level of the smaller community and metropolitan orchestras, the conductor may have to function as a jack-of-all-trades - raising funds, rehearsing, scheduling, and performing. As the orchestra increases in size, length of season, and budget, the conductor and music director tend to confine their activities to performing, programming, supervising personnel, and working in educational programs.

CRITIC, MUSIC

Music critics are a unique combination of journalist and musician. Their views are published daily, often providing quotations to be used as publicity for performing artists. They affect their audience both indirectly and directly—indirectly by determining which artists will survive in the performance media and will therefore be available for the public to choose from, and directly by influencing choices the public makes, its understanding of performances, and its reactions to them.

EDITOR, FILM MUSIC

To put it simply, a film music editor helps a composer put his or her music on a soundtrack. When a motion picture is put together, there are three items on the soundtrack that have to be synchronized with the visual portion(dialogue, sound effects, and music. One person works with the dialogue; another does just the effects; and the music editor takes charge of the music portion. The producer and composer run the film and spot the music (choose where it should appear) throughout the film. The music editor then breaks this down into separate cues and times each cue for the composer, who takes these timing sheets and writes the music. The music editor takes the composer's sketches and gets the necessary information from them to set up the film for orchestra recording. The orchestra records the score, the music is cut into reels, and it is then ready for a final dub.

EDITOR, MUSIC

The best advice that can be given to any young person interested in preparing himself or herself for a career in the music publishing industry is to acquire as much knowledge as possible of the various music skills and the various mechanical procedures involved. To obtain the latter he or she should seek employment in a music publishing firm that maintains its own production and printing departments and then observe, ask questions, and remember what is being done and how.

EDITOR, MUSIC MAGAZINE/BOOK

Someone contemplating a career in music journalism should not major in music. You should address yourself to acquiring and polishing useful journalistic skills. "Music" is only the adjective, "journalism" is the noun; so major in journalism, English, humanities, languages, anything that will improve your word-handling abilities.

ETHNOMUSICOLOGIST

Ethnomusicologists, simply stated, are translators between an audience or population (e.g., mainstream Americans) and foreign music or musics. They provide insights, understandings, and bases for appreciation of this foreign expression. Their translation may take many forms(research, teaching, recordings with informative notes, films about an ethnic tradition, or even arts administration.

INSTRUMENT DESIGNER

Although instrument making is called an industry, it is tiny in comparison with most other manufacturing industries. Consequently, the number of jobs in design and engineering is quite limited. Second, its products have nothing to do with convenient living; they are integral parts of a fine art and tightly bound by the traditions of that art.

INSTRUMENT REPAIRPERSON

Before one can repair any instrument, one must know a number of important things about it(the materials of which it is made, its construction, special characteristics, and so on. A good understanding of the way the instrument is played and of its fingerings is also essential. A music repairman must know what specialized and common tools to use and where tools and supplies can be obtained.

INSTRUMENT SALES REPRESENTATIVE

Although is it true that most positions in instrument sales require no music background but only selling ability, there is no denying that those who play music instruments, appreciate music, and possess the skills for production of music products have an advantage. Music instrument sales is one field in which a music background can be put to good use. Instruments used by grade schools, junior high, and senior high schools are sold best by a manufacturer's representative who is intimately acquainted with the school band and orchestra program. You don't have to be a music educator to be a good salesperson, but music education experience and skilled salesmanship are an unbeatable combination. You are, in effect, an educational consultant to the music dealers whom you contact. You can advise the local dealer on the kinds of products the school music teachers want. You can talk to educators about the qualities your product has over competitive lines. Before becoming a sales representative for a manufacturer, retail selling experience is valuable to get the feel of the retail end of the business.

INSTRUMENTALIST, CLASSICAL MUSIC

Many music students in conservatories and universities are not made sufficiently aware of the practical aspects involved in making a living as a classical instrumentalist. The emphasis is frequently on competing on a soloist level with a view toward a glamorous career. In addition, however, theory, languages, academic subjects, and secondary piano should be required and taught on a high level.

MUSIC WORSHIP LEADER

Religious musicians view their work as a music ministry to members of the congregation and the community they serve. Behind this premise is the conviction that the use and expression of music in church liturgy is more a matter of congregational celebration and less a matter of specialized groups performing for an audience. The church musician, therefore, should be well prepared with an appreciation for the life and mission of the religion he or she serves. Administrative ability, interest and skill in working with people (usually volunteers and amateurs), as well as knowledge about the field of religious music (including traditional and contemporary literature and forms of expression), are important.

INSTRUMENTALIST, POP/ROCK/JAZZ

Your background and education are important for a career as a performer of pop, rock, or jazz, but usually not as significant as talent, persistence, showmanship, and a little luck. Emotional maturity is another prerequisite and, of course, music training is definitely helpful. In pop, rock, and jazz the ear is and should be of prime importance; as a singer or instrumentalist, you should be able to execute what you hear. The musician who succeeds is the one who has mastered the technique of satisfying the particular audience he or she is aiming for, while not compromising his or her personal, unique vision and sound. Consequently, it is important that you expand your musical orbit by carefully listening to a wide variety of music, as these influences can provide ideas and inspiration for you.

LIBRARIAN, MUSIC

A smoothly operating music library requires the coordination of numerous activities: circulation and retrieval of materials; answering reference questions and helping people locate information or materials; determining needs of library users and acquiring new materials; accepting and sorting gifts; budgeting; personnel management; cataloging and classifying books, scores, and recordings; maintaining the card catalogs; binding scores and parts; maintaining a collection of recordings; and servicing listening equipment. Depending on the size and type of library, these activities may be performed by one person or by a team.

PERFORMING ARTS ADMINISTRATOR

Arts administrators are trained in one of the art forms: music, dance, drama, or the visual arts. The potential arts manager probably has organized events such as concerts, tours, performances, or guest lectures at one time or another. He or she has performed or worked in productions in school, in the home community, and most likely in a professional setting following undergraduate training. In school, the potential arts manager exhibited leadership ability and liked to work with groups of people to achieve common goals. At the same time, he or she could articulate well, could write clearly, and did well in mathematics. In addition, this person has come to see that he or she would be happier serving the arts as a manager, using creativity to improve those basic support systems that make it easier for the artist to produce the highest quality art on a regular basis.

PUBLISHER, MUSIC

Music publishing involves choosing materials to publish; editing and proofreading music manuscripts; promoting serious performance; and nurturing composers. Everything else is common to any other business with similar marketing and distribution procedures.

RECORDING ENGINEER

WANTED: Audio Engineer, great travel opportunities, work with big name stars and artists, making records, films, live concerts, etc. Excellent money, fame, and excitement! Must know basic electronics, tape machine maintenance, studio setups, remote recording experience. Must have knowledge of state-of-the-art equipment. Must be responsible for inventory control, assisting in scheduling, entertaining clients, etc. Hours from 8 a.m. to 2 a.m., seven days a week. Christmas off (if nothing is booked). Starting pay minimum wage.

RECREATION ARTS COORDINATOR

With the field of recreation virtually untapped, people with arts, music, and theater degrees have a place to go. Although the generalist still may coordinate recreation programs in some areas of the country, the tide may be turning in favor of specialization in arts administration. A department often works directly with community arts groups, acting as a catalyst for their efforts. Among the community groups or activities that a department of recreation can help sponsor are children's puppet theaters, county-wide dance companies, county-wide arts shows, local symphony orchestras, community theaters, and local music groups.

RETAIL MUSIC SALES

A prospective employee for a retail music store should have sufficient music experience or training to be conversant with the majority of the standard repertoire and expert in one of its facets. This is especially true in those stores where one can expect to handle requests for many different instruments, vocal music, textbooks, and study scores. Areas of specific interest such as instrumental or vocal ensembles do not, as a rule, require such a wide range of knowledge.

SYNTHESIST

An electronic music synthesist creates, modifies, and controls sound electronically. Although he or she generally uses a keyboard to do this, a synthesist may adapt and use almost any acoustical instrument to control a synthesizer. With some additional training, virtually any musician can, in effect, become an electronic music synthesist, opening up career opportunities in education, performance, composition, production, software design, and electronic hardware design, movie commercials, radio TV jingles, etc.

SUPERVISOR/ADMINISTRATOR, MUSIC

The job of music supervisor/administrator encompasses a vast number of tasks that will vary daily and that usually are unpredictable. There are as many descriptions of this job as there are people trying to fill the position. For example, in a district of twelve elementary schools, the tasks of the music administrator would be quite different from those in a district of 60 or more schools that have grades K-12. Another variable is the title used to describe the music administrator's position. Some of the most common are director of music education, supervisor, coordinator, curriculum specialist, and music consultant.

TEACHER, COLLEGE/UNIVERSITY MUSIC

The role of a music teacher in the college or university is highly diversified. Within a department or a school of music there are teachers of performance, theory, composition, history, and education. In some institutions you will find further specialization in areas of church music, music therapy, commercial music, and other allied fields.

TEACHER, ELEMENTARY/SECONDARY MUSIC

If you love working with children and are musically gifted, you cannot find a more rewarding, enjoyable profession than teaching. A teacher's day is often long, starting quite early in the morning and often ending in the evening, especially if there are concerts or rehearsals to attend. But the satisfaction one can get from helping students learn and understand the beauty and power of music can carry a teacher through the toughest schedule. Most music education programs expose teachers in training to a variety of music skills, not just in the area they may prefer or specialize in. Teaching at the elementary and secondary levels requires that a teacher be flexible and multi-competent in instruments as well as vocal techniques, as teachers are often required to teach vocal and instrumental music at this level. Teachers also need to understand the development of children, and so are introduced to child development courses during college training.

TEACHER, PUBLIC SCHOOL MUSIC

One may be a general classroom music teacher in an elementary school, a high school orchestra director, or perform a combination of musical duties at a variety of grade levels. But despite the wide spectrum of specialties, all public school music teachers must be prepared educationally in the same manner, must compete in the same relative job market, and enjoy the same advantages and disadvantages of the career. Vocal music teachers work with individuals or groups of students, developing skills and techniques related to vocal performance. Instrumental music teachers work with students, either individually or in groups, teaching beginning, intermediate, and advanced technique classes, small ensembles, and band or orchestra rehearsal. These vocal and instrumental teachers work at the elementary level, the middle school level, and the high school level.

TEACHER, STUDIO/PRIVATE

For those who love children and enjoy dealing with them on a personal level, private teaching offers great rewards. To be an independent music teacher, one needs to specialize in his or her major instrument. For the piano teacher, the suggested degree would be the bachelor of music in piano or piano pedagogy. The piano pedagogy degree offers the educational background, the opportunity to observe an experienced teacher working with classes, and the practical experience of actually teaching groups of children under supervision. This training proves invaluable when one opens his or her own studio.

THERAPIST, MUSIC

A music therapist uses music in the therapy of human disabilities. Music therapists are most likely to be located in settings that normally employ other members of the helping professions such as physicians, clinical psychologists, social workers, and rehabilitation specialists. In these settings music therapists work either as team members or individually to assist their clientele to become healed, rehabilitated, or specially educated. Most music therapists do their work in hospitals, training centers for the developmentally disabled, rehabilitation centers, and (to a lesser extent(public and private elementary and secondary school settings.

VIDEO MUSIC CAREERS

There is no single route for a young student who has his or her eye on this music business, but it seems that an ideal background would incorporate college-level study in several areas: music business (copyright law, promotion, marketing, production), television production, graphic arts, visual design, and communications. A working knowledge of computer programming also would be an asset in today's technological careers.

VOCALIST, POP/ROCK/JAZZ

Most pop vocalists earn their living in a variety of music areas - concerts, recordings, club work, radio and television commercials, Broadway musicals, and even teaching. Versatility is absolutely essential in this career, especially to the vocalist who may not have the good fortune to gain star status. Performance situations are competitive, often demanding years of experience to gain a solid reputation and a high level of proficiency. A vocalist who sings reasonably well, can sight-read, knows all styles of music, and has a solid knowledge of music theory is going to be in demand.

MYTHS AND FACTS ABOUT NYACK COLLEGE

by Dr. Sue Lane Talley, Director of Music Program

1. Myth: The teacher will never fail me because it isn’t Christian to fail somebody.

Fact: The teacher doesn’t fail students. Students fail themselves.

2. Myth: My ministry comes first, therefore I get excused absences when I sing or play at funerals, weddings, street ministry, and choir tours.

Fact: While there is some flexibility and understanding given to ministry considerations, these are not considered excused absences as a rule.

3. Myth: I do not have to do the work for days that I am excused, because I couldn’t get the homework.

Fact: Whether you are excused or not, you are responsible for every assignment. Get it from the professor or from your friends.

4. Myth: Christian colleges have lower standards and are easier than secular universities.

Fact: Christians should have higher standards, not lower ones.

5. Myth: I deserve a high grade because I am paying so much for my education.

Fact: Tuition does not cover the cost of a college education, and anyway, grades that are given because of financial “bribery” are meaningless. You must earn your grades.

6. Myth: If I bring a health professional’s excuse, the music instructor must make up my private lesson.

Fact: Instructors are required to make up private lessons only if the student has given 8 hours advance notice for an absence: however, we recognize that sometimes you cannot give so much notice.

7. Myth: If I leave word on the office phone, my professor will excuse me from a lesson when I am sick.

Fact: Professors do not have access to the office phone. You must call them at their private numbers and try until you know they have been reached. This is not the job of another professor or the music secretary.

8. Myth: If I can’t take a class at the regular time, I will just take it as a “Y” course.

Fact: The student may take only one “Y” course per semester, and only if it is impossible to take the course at the regular time, only if he or she needs the course for graduation, and only if their GPA is sufficiently high. “Y” courses are not open to everyone.

9. Myth: I can turn my homework in whenever it is done and the professor must accept it.

Fact: Homework is due when the syllabus says it is due. The professor has every right not to accept late homework.

10. Myth: If I do not finish a course on time, I will just ask for an extension and finish it late.

Fact: Extensions are given ONLY in the case of a genuine emergency. Example: A death in the family, which necessitates the student being out of town, could be considered a genuine emergency. So could a lengthy hospitalization. Missing a class or two because of an illness does not constitute an “emergency.”

11. Myth: If I am having trouble in class, there is nothing I can do but speak with the professor.

Fact: Your first obligation is to speak with the professor. If, for some reason, this does not help, your next choice is to drop a note to the Director of the School of Music or make an appointment. If a class is collectively having difficulty, the Director of the School of Music is obligated to speak with the professor and try to straighten out the matter. That is true of any of the disciplines. You are also protected from every kind of harassment that any secular institution protects you from, and you are under the same regulations. If a professor or student is harassing you for racial, sexual, or other reasons, please do not hesitate to let the Director of the School of Music know so that appropriate investigation can be made and action taken to eliminate the problem.

12. Myth: If I must be absent from a class so I can do extra studying, it should probably be Chorale, because it doesn’t count much.

Fact: Chorale is the most “visible” of the music classes and therefore is extremely important to the institution. It is also a required course for every music major. After three absences, you can fail this course; if they are consecutive, you are automatically dropped (unless there is a medical or personal emergency that is well documented). You can lose your status as a music major by not coming to Chorale, even if you are taking it for no credit. Warning: Scholarship students will lose their scholarships if they do not come to Chorale or to Chorale events. This is the understanding upon which scholarships are granted.

13. Myth: I’m paying for my applied music lessons, so it doesn’t matter if I go or not.

Fact: Applied Music lessons are graded just as any other class is. Music majors should NEVER skip lessons, because they get a zero grade when they do. Unless you are ill, there is NO obligation on the part of the professor to make them up (see #6). All BM, BME, and BSM majors have a Jury at the end of EACH semester, and others, at the end of the second semester, though they are suggested for all. You must be prepared to play a certain number of pieces from memory. Music lessons are the “heart” of the major. Don’t skip them!

14. Myth: Unless I play or sing on a recital, I don’t need to go.

Fact: You are required to attend five recitals, each semester. You are there to learn and to support others, even if you aren’t performing. This is what it means to be a good colleague--an essential part of your college experience.

15. Myth: All classes must be offered when I can attend them.

Fact: We make every effort to plan our classes in day/evening rotation. Rarely (but sometimes), something may come up which you cannot attend, either a music course or another Core course. You need to prepare for this and make other arrangements--even if you might have to take a class at another college and transfer the credit. Work this out with your advisor.

16. Myth: My advisor is responsible for my success and will see that I get all the classes I need.

Fact: YOU are responsible for picking out your classes, and ultimately, for making sure that you get all the classes you need in time to graduate. Keep track of what you are doing!

17. Myth: I should only take classes in which I am pretty sure I can get an “A”.

Fact: You must take Core classes, and the sooner you take some of them (such as College Writing I), the better--you’ll do better in other courses if you get some of these “out of the way,” and you won’t graduate without them, anyway.

18. Myth: If I only have a couple of classes left, I may “walk” at graduation (participate in the ceremony).

Fact: This is no longer true. You must have completed everything if you are to “walk” at graduation, as well as to be awarded the diploma. The College will not grant you the BA Degree and your diploma until you have finished all the required coursework.

19. Myth: If I go to college for four years, I will graduate.

Fact: While this is possible, it is very difficult under some conditions. Music Education people have an extra semester for student teaching, for example; Conditional students or ESL students may be required to take non-credit classes which extend the time necessary to graduate; student’s work and study schedules may not permit the load necessary (15 credits per semester the first 2 years, 16 credits per semester the last two years). Graduation means completing 126 of the correct credits for the major, or more if more are required. This is especially difficult if you change majors. Some majors require the senior thesis (Interdisc) and some, a minimum GPA (Education). All majors require a 2.0 GPA to graduate. Know your requirements!

20. Myth: I can take classes in any order I want to.

Fact: Some classes have prerequisites and MUST be taken in order, whether it is convenient or not.

21. Myth: If I am placed in a higher course, I don’t have to make up the credits for the ones I skipped.

Fact: If you place into a higher division, for example, of Music Theory or skip any other foundation class, you must make up the credits with other electives, often music electives. A degree in New York State is almost always 126 or more credits. However, you can, by taking a CLEP test, receive college credit for knowledge gained, and NOT have to replace the credit, since you get credit for it by passing the test. This is especially helpful in any of the Core subjects. If you are fluent in a foreign language and write well in that language, try to CLEP out of it.

22. Myth: I may take private lessons from whomever I choose, and if I don’t get along with them, I may change to someone else.

Fact: Assignments are made by the Director of the School of Music in consultation with other faculty, with your needs and your schedule--as well as the professor’s--in mind. Normally, when you start with one professor, you continue with them throughout your schooling. However, adjustments can be made if there is sufficient reason. Classes are filled according to schedule. Don’t expect a professor who teaches lessons on Monday or Tuesday to come in on a Wednesday, Thursday, or Friday to teach you.

23. Myth: My professor will provide me with my music or duplicate it for me.

Fact: While there is some music available on CD Rom, it is the responsibility of the student to purchase the music. The duplicating machine on the 6^th floor is for faculty only and not to be used by students to duplicate textbooks or music. There are rather strict guidelines in place about music copyright and the School of Music is obligated by law to live within these regulations.

24. Myth: If I have a problem, the Administrative Assistant will change my schedule.

Fact: The Administrative Assistant can change your schedule only upon consultation with your advisor, and only according to school policy which has very strict date requirements.

25. Myth: My financial aid will continue as long as I am in college.

Fact: The State and Federal financial aid programs are four-year programs. It is therefore important for you to finish college in a timely manner, if you are depending upon TAP, PELL, and some student loans.

MISCELLANEOUS INFORMATION

Music Campus

The campus mailboxes are located on the 1st floor and are used to send messages, return papers, etc. Students should check their box twice every day, since VERY IMPORTANT messages may be found in them.

Instruments

Music majors are expected to provide their own instruments in their major performing area. Students who are taking private music lessons outside their major area and require the use of one of the college’s instruments should see the School of Music Administrative Assistant in the Music Office to make arrangements for use of an instrument. Instruments will be checked out and returned in excellent condition.

Employment Opportunities

Employment and ministry positions in music are posted as they are received on the bulletin board. Be sure to check the board regularly for updated opportunities.

Local Concerts

Local Classical and Jazz concerts that would be enriching to music majors may be posted on the bulletin board.

Care of Personal Property

The college is not responsible for damage or loss of personal property stored or used in college-owned buildings or on college-owned property. Students are advised to maintain adequate insurance coverage for instruments, computers, stereos, etc.

PLACES OF INTEREST

NEW YORK CITY MUSEUMS

Metropolitan Museum of Art - 82nd Street & 5th Avenue 212.535.7710 (suggested $7.00 admission with student ID)

Museum of Modern Art – 53^rd Street between 5^th & 6^th Avenue 212.708.9400 (Friday 4:00-7:45pm pay what you wish -other times $12.00 with student ID)

Guggenheim Museum - 89th Street & 5th Avenue 212.423.3500 (Friday 6-8:00pm pay what you wish—other times $10.00 with student ID)

Whitney Museum of American Art - Madison Avenue & 75th Street 212. 570.3600 Friday 6-9:00pm pay what you wish (other times $9.50 with student ID)

The Cloisters Museum - Medieval European Art 212. 923.3700 Fort Tyrone Park - 1 mile north of George Wash. Bridge off Henry Hudson Pkwy. (suggested $7.00 with student ID)

NEW YORK CITY CONCERT HALLS

Carnegie Hall - 57th Street & 7th Avenue 212.247.7800

Lincoln Center - 65th Street & Broadway

Avery Fisher Hall 212. 875.5030

Metropolitan Opera 212.362.6000

New York City Opera and Ballet 212.870.5500

Alice Tully Hall 212.875.5050

Symphony Space - Broadway & 95th Street 212. 864.5400

92nd Street “Y” - Lexington Avenue & 92nd Street 212.996.1100

Merkin Hall - Broadway & 67th Street 212.501.3330

NEW YORK CITY - PLACES OF INTEREST

Empire State Building - 34th Street & 5th Avenue 212. 736.3100 ($14.00 elevator to top)

St. Patrick’s Cathedral - 51st Street & 5th Avenue 212. 753.2261

Cathedral of St. John the Divine - 112th Street & Amsterdam Avenue 212.662.2133

Rockefeller Center - 50th Street & 5th Avenue 212. 332.7654

SHEET MUSIC

Patelson’s Music House: www.patelsons.com

160 West 56th Street 212.757.5587

Julliard School Bookstore: www.bookstore.julliard.edu

60 Lincoln Center Plaza 212.799.5000

Colony Record & Radio Ctr, Inc. 1619 Broadway 212.265.2050

Carl Fischer Inc.: www.moravianmusic.org/publishers.htm

65 Bleeker Street Fl8 212.777.0900

T.I.S. Music Catalog: www.tismusic.com

J.W. Pepper: jwpepper.com

Barnes & Noble: www.b&n.com

HMV Records: www.hmv.com

J&R Music: www.jr.com

CD World: www.cdworld.com

Citidex: (guide to all the music stores in NYC) www.citidex.com

LIBRARY RECOURCES

Nyack College: www.nyack.edu/2008.php?page=libraryHomepage

The Wilson Library has a dedicated Music Room on the 3^rd floor

NYC Public Library: www.nypl.org 212.870.1630

Nyack College School of Music Websites

NYC School of Music Website: http://www.nyack.edu/music/nyc

NYC School of Music Academic websites: http://www.ncmcmusic.com/

Nyack College: http://www.nyackcollege.edu/ and http://www.nyack.edu/

Nyack Rockland School of Music: http://www.nyackcollege.edu/2008.php?page=MusicWelcome

Many additional links can be found at the following website: http://www.ncmcmusic.com/links.html

HERE ARE SOME OF THE BEST UNIVERSITY WEBSITES THAT ALLOW ACCESS.

DUKE UNIVERSITY: //library.duke.edu/about/libraries

Harvard UNIVERSITY://hcl.harvard.edu/loebmusic/online-ir-intro.html

U. of California: //vos.ucsb.edu/browse.asp?id=2722

U. of Washington: //www.lib.washington.edu/music/index.html

WWW Sites of Interest for Music History and Musicologists:

http://www.sas.upenn.edu/music/ams/musicology_www.html

PERFORMANCE VENUES

92nd Street Y: www.92y.org

The Brooklyn Academy of Music: www.bam.org

Brooklyn Center: www.brooklyncenter.com

City Center: www.citycenter.org

Dixon Place: www.dixonplace.org

The Irish Arts Center: www.irishartscenter.org

The Japan Society: www.japansociety.org

La Mama: www.lamama.org

Lincoln Center: www.lincolncenter.org

Miller Theater: www.millertheater.org

NY State Theater: www.nycballet.com

Metropolitan Opera: www.metoperafamily.org

Radio City Music Hall: www.radiocity.com

Symphony Space: www.symphonyspace.org

Town Hall: www.the-townhall-nyc.or

Manhattan School of Music: www.msmnyc.edu

Mannes College The New School for Music: http://www.newschool.edu/mannes/

Sites for the Study of Music

The Aria Database: www.aria-database.com

Choralnet: www.choralnet.org

American Choral Directors Association: www.acdaonline.org

Music Educatiors Conference: www.menc.org

MUSICA: www.musicanet.org

ClassicalNet: www.classical.net

The Classical Music Pages: http://w3.rz-berlin.mpg.de/cmp/

A Concise History of Western Music: www.wwnorton.com/concise

Free Sheet Music

www.geocities.com/Area51/Realm/5747/thelinks.html

www.freesheetmusic.net/downloads.html

www.MusicOfYesterday.com

Gary Ewer’s Easy Music Theory www.musictheory.halifax.ns.ca/

Teoria.com from the Conservatory of Music in Puerto Rico Interval drills, chord spellings, scale and key signature drills. Bilingual Spaninh/English

The Messiah Score (the entire score and it can be printed in PDF)

www.ccel.org/h/handel/messiah/htm/TOC.htm

Public Domain Music : www.pdinfo.com/list.htm

Christian Classics Ethereal Library: www.ccel.org

The Internet Public Library: www.ipl.org

Essentials of Music: www.essentialsofmusic.com

Naxos: www.naxosusa.com

NY Radio Stations: www.nyradioguide.com/listings.htm

OVATION The Arts Network: http://www.ovationtv.com

Song Literature Scores: http://www.dib.indiana.edu/variations/scores/song.html

Thirteen- WNET— Arts, Drama & Culture Channel 13, PBS in NYC. : http://www.thirteen.org/homepage/subject_arts.php#music

World History: http://www.hyperhistory.com/online_n2/History_n2/a.html

Dr. Estrella’s Incredibly Abridged Dictionary of Composers: http://www.stevenestrella.com/composers/index.html?styletimeline.html

Standard MIDI Files: http://aitech.ac.jp/~ckelly/SMF.html

REPRESENTATIVE FORMS

(Each form is one page and are shortened in this handbook.)

1. Entrance Audition Evaluation Form

Name: Date:

Phone: Email Address:

Performing medium: Major__________________________ Minor_____________________

Future Goals:

Auditioning for Entry into the following program(s):

BA Program Music Ed. Church Music Performance Sacred Music Con.

Compositions Performed:

Sight Reading:

Previous Ensemble Work:

Evaluation and Recommendation:

Faculty recommends to the following program(s):

BA Program Music Ed. Church Music Performance Sacred Music Con.

Scholarship Recommendation: Amount:

2. RECITAL JURY

Wednesday, June 22, 2009  1:00 p.m.  7:00 p.m.  Nyack Theatre 6^th Floor

Name, _______________soprano Title of piece Composer (b.- d.)

Name, instrument (Accompanist)

3. JURY (This format is found as a template with the administrative assistant. Please remember to check all work before making copies.)

Please list all works studied this semester. Please mark (M) Memorized (P) Performed in a Recital

etc.

Repertoire: Degree of Difficulty: □Easy □Medium □Hard

Please note technical merits or inconsistencies:

Technique:

Style:

Accuracy:

Expression:

Signed__________________________________

4. The following is a requirement of all NASM schools for each student file:

Nyack College ~ School of Music

CONCERT ATTENDANCE & PERFORMANCE RECORD ~ SPRING 2009

(A minimum of 5 events per semester as member of the audience are required for full-time music majors in all music degree programs.)

This form is to be submitted to the Music Office at your May jury or during finals week.

Dr. Sue Talley will review this form at the end of the semester to be sure that the standards set by the School of Music are being met. This form becomes part of your student file.

Name: ________________________

Student Recitals (if performer, indicate piece(s) performed at recital)

Recital 1 Audience Performer: ____________________________________________

Recital 2 Audience Performer: ____________________________________________

Recital 3 Audience Performer: ____________________________________________

Recital 4 Audience Performer: ____________________________________________

Member of the audience in on-campus performance (confirm attendance by signing in.)

Date Event Date Event

1. 4.

2. 5.

3. 6.

Local Concerts (attach ticket stub or program)

Performances intended to enrich academic program. Do not include programs mainly for entertainment.

Date Event Date Event

1. 3.

2. 4.

Performer in School of Music Ensemble (Log of Performances for NASM Report.)

Date Event Date Event

1. 5.

2. 6.

3. 7.

4. 8.

5. NCMC Registration Form

Spring 2009

Name: Phone #:

ID #: Email:

Course no.	Course Title	Instructor	No. Cr.	Day	Time	Room