department of music guitar handbook 2013
DESCRIPTION
Department of Music Guitar Handbook 2013TRANSCRIPT
DEPARTMENT OF
MUSIC
Guitar ● Bass
HANDBOOK
2013-2014
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GREETINGS FROM THE DEPARTMENT CHAIR
Welcome to the Department of Music at Trevecca Nazarene University. Our goal during your study here is to help you refine your God-given abilities and to help you learn to be a good steward of those through dedicated practice, rigorous academic study, and inspired performance. Music is treated as an academic discipline at Trevecca and as such demands your utmost effort intellectually, physically, emotionally, and spiritually. We believe your effort will reap great rewards if you are diligent and keep to the task. As faculty members we are here to encourage you when you become discouraged, correct you when you need correction, pray with you when you are struggling, and rejoice with you when you accomplish your goals. If I can be of any assistance during your time at Trevecca, please feel free to contact me. Sincerely, David Diehl, DA Chair, Department of Music Trevecca Nazarene University 615-248-1291 [email protected]
The Department of Music Handbook, revised annually, is intended to serve as a guide to both students and music faculty and to promote healthy communication.
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TABLE OF CONTENTS
Guitar and Bass Faculty 3 Mission Statement/Degree Programs 5 General Music Policies 5 Retention Policy for Applied Study 6 Health and Safety for the Musician 7 Scholarships for Majors/Ensemble Scholarships for Non-Majors 10 Endowed Music Scholarships/Awards 11 Guitar/Bass Applied Study/Admission and Placement 12 Guitar/Bass Audition Requirements 12 Guitar Seminar/Juries 13 Fourth Semester Jury/Commercial Applied Proficiency/Rubric 14 Classical Recitals/Commercial Performances 15 Guitar/Bass Curriculum (Lower Division) 17 Guitar/Bass Ensembles 20 Accreditation/Community Engagement/Service 21 Appendix I – Music Education Survival Guide 23 Appendix II – Guitar Rubric 26 Appendix III – Courses Requiring Pre-requisites 27 Appendix IV – Tentative Course Offerings 2013-2017 29
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Guitar and Bass Faculty Jeff Cox , Coordinator of Guitar and Bass Studies, Electric and Upright Bass
Jeff Cox is an Assistant Professor of Music and Coordinator of Guitar and Bass Studies in the Department of Music at Trevecca Nazarene University. Mr. Cox is responsible for teaching electric and upright bass as well as commercial theory, lab band and various music courses. Mr. Cox received his Bachelor of Music in Commercial Performance from Belmont University and his Master of Arts Degree in Jazz Studies from Middle Tennessee State University. He has taken part in various clinics with Arturo Sandoval, Tom Scott, Jiggs Whigam, Duffy Jackson, Ed Shaugnessey, Pete Christlieb, Steve Houton, Med Flory Jimmy Rainey and Jamey Aebersold. Jeff Cox has toured, performed and/or recorded with many well-known internationally acclaimed artists and groups including: Grammy Award winning jazz guitarist, Earl Klugh; Jazz Saxophonist and Flutist, Nelson Rangell; Grammy Award nominee and jazz singer, Nnenna Freelon; Finger-style master, Pete Huttlinger; country artists Lorrie Morgan, Trisha Yearwood, Ray Price, Billy Ray Cyrus and John Berry; Christian recording artists Kathy Trocolli, Jim Brickman, Greg Long, Lisa Bevill, Billy Sprague, Clay Crosse, Aaron Jeffrey, Sierra, Solomon's Wish, Tony Vincent, Nicole Smith, and Sam Levine. Other artists include Engelbert Humperdinck, The Marvellettes, The Mills Brothers, The Tommy Dorsey Big Band, The Spinners, and The Coasters. He has performed musicals and revues such as Evita, Little Shop of Horrors, Swingin’ on the River, Ain’t Misbehavin’, Now That’s Country, and Swing!
Mike Bauer, Commercial Guitar New York born and raised, Mike Bauer moved to Nashville a few years after graduating from the University of Miami. His initial involvement in Miami's entertainment world was as guitarist in IKO-IKO (a popular blues band), where he shared the stage with the legendary Bo Diddley. Since Mike's arrival in Nashville in 1998 he has toured around the world and/or recorded with artists in several different genres including in Modern Worship, Paul Baloche, Israel Houghton and Don Moen; in Contemporary Christian, Point of Grace, Nicole C. Mullen, David Phelps and Sara Groves; and in Country, Pam Tillis and Cheryl Wright. Mike also works as a session guitarist and gives acoustic and electric guitar clinics. He was Integrity Music's Seminars4WorshipConference guitar clinician for several years and then began his own Art of Worship Conferences where he and his wife coached praise teams around the country. Because of his love for teaching, Mike began the Nolensville Guitar Academy in 2008. NGA is a Christian based interactive guitar program for kids in Nashville. Mike released his first record, MY OWN WORLD, as an instrumental electric guitar solo artist in 2010. He's currently working on the next album.
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Steve Krenz, Classical Guitar Steve Krenz’s broad and varied playing experience runs the gamut from playing guitar with a symphony orchestra, to jazz big bands, to performing with Grammy-winning artists like Donna Summer, Michael W. Smith, The Fifth Dimension, Israel Houghton, and Tommy Sims (producer, renowned bass player for Bruce Springsteen and co-writer of Eric Clapton's Grammy-winning song "Change the World"). As a studio musician, Steve's recorded guitar work has been featured in promotional campaigns for Coldwell Banker, Prudential, and the World Cyber Games. He has performed with platinum-selling country music artist, Bryan White, as well as with Darlene Zschech & Hillsong, the Katinas, Jonathan Pierce, and many others including GMA Dove Award winners Natalie Grant, Ron Kenoly and Don Moen.
Steve’s top-selling guitar instruction course, Gibson Guitar’s Learn & Master Guitar, has helped thousands of guitarists in over 95 countries across the globe. It received the 2008 Acoustic Guitar Magazine Player’s Choice Award for outstanding guitar instructional materials. He has also released Learn & Master Spotlight Series Blues Guitar. Steve is a contributor to Gibson.com and is featured on the award winning Gibson Learn & Master Guitar iPhone app.
Not only is Steve an active guitarist playing and recording professionally in Music City USA, Nashville, Tennessee, but he also holds a deep personal commitment and passion for teaching and training other guitarists to excel in their talents. As a published author of several articles on various aspects of excellence in musicianship, he is a sought-after speaker and teacher conducting guitar-playing and music workshops in churches and venues across the United States and abroad, reaching as far as New Zealand and South America. Steve has taught thousands of guitar lessons to players of all ages and skill levels—helping them go from where they are to where they want to be.
Whether it is playing classical guitar at a university, acoustic guitar in a recording session, or electric guitar for thousands with a Grammy-winning artist in an arena, Steve's musical excellence and versatility combined with a gift for communicating in an easily understood and practical way is a major asset to his students and a key to the incredible success of Gibson's Learn & Master Guitar.
Steve lives with his beautiful wife and three growing boys in Spring Hill, Tennessee. From there, Steve travels worldwide conducting workshops in addition to his speaking and playing schedule.
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THE DEPARTMENT OF MUSIC MISSION STATEMENT The Department of Music seeks to train musicians in the essential skills, attitudes, and intellectual understandings that are necessary to be competent in their desired areas of vocation and create opportunities for the appreciation of and participation in music within the broader community. DEGREE PROGRAMS Bachelor of Science in Music Education - This program is designed for the student who wishes to enter the teaching profession in the American public school system, and/or pursue graduate studies in music education. Bachelor of Science in Music (General) - This program is designed for students who desire to enter full-time private teaching, graduate study, or to pursue music as a major subject of interest within the context of a liberal arts curriculum. Bachelor of Arts in Music (Commercial) – This program is designed for students who desire to enter full-time private teaching, graduate study, or to pursue music as a major subject of interest within the context of a liberal arts curriculum. It is noted that this degree is grounded in two years of study of the classical traditions of performing, creating, and responding to music and that commercial styles are explored as an extension or adaptation of these traditional styles, techniques, and forms during the second two years of study. Elective studies exist in the areas of performance, music technology, songwriting, and jazz studies. Music Minors Music Minors are available for any student majoring in a subject outside of music. They include Composition, Jazz Studies, Music, Music Technology, Music Theatre Interdisciplinary Minor, Songwriting, and Worship Leading. Music-Related Majors A degree in Music Business is offered through the Department of Business Administration and a degree in Worship Arts is offered as an interdisciplinary program. General Music Policies 1. Major credit: A minimum grade of C- is required in all courses counting towards the major. 2. Advisors: Entering students will be assigned an advisor who will assist in planning his/her
program of study throughout their college career. Ultimately, students are responsible to make sure they are taking the correct classes in the sequence they need to graduate on time. Students will use “self-service” registration and class schedules will appear on that site. In order to facilitate your planning a list of classes with prerequisites (Appendix III) and the anticipated 4-year sequence of classes (Appendix IV) are included in the back of the handbook.
3. Recital Attendance: Course MUS 1200 (0 credit hours) Recital Attendance is required of all music majors, and the graduating music student should have successfully completed 6 semesters of this requirement. To receive a satisfactory grade,
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twelve (9 for the Fall for first-time Freshmen) music Department-sponsored recitals, concerts and music majors meetings must be attended during the semester. Graded S/U Recital Attendance Slip: This is secured from an usher at the event door. The Recital Attendance Slip must be turned in personally to a faculty member or the event attendant at the end of the recital. Recital Attire: Students should dress in a manner that is appropriate for the performance. Consult your applied instructor for suggestions. Students may receive up to a total of 3 credits for any recital and repeat performance; however, students can only choose one recital credit to use multiple times per semester.
4. Keyboard Proficiency: Students will register and receive credit after passing the Proficiency Exam or successfully completing Class Piano I, II, III and IV with an average of B- or higher.
5. Practice Rooms: Students should reserve a practice room during registration. This is done through the Departmental secretary. These rooms are provided for the use of students registered for class or studio instruction. Students should not leave valuables, books, papers and music in the practice rooms unattended.
6. These rules apply to use of practice rooms:
Keep the door closed while practicing.
Do not leave valuables in room unattended.
Do not store your personal music or instruments in the room.
Notify the secretary if equipment needs attention (light bulbs needing replacement, broken windows, piano malfunction, etc.).
Harpsichord and Organ in auditorium are used with permission of applied instructor or Department Chair.
7. Lockers are available on the second floor for personal material storage. Students are to use locks provided by the Music Department. A refundable deposit fee is required.
8. Records for majors and minors are housed in the music office. Students may access their files by requesting them from the Departmental secretary. All files must be kept in the music office when being used by the student.
Retention Policy for Applied Study
The Department of Music's retention policies are delineated in the student handbooks under the subsection "Evaluation of Majors". There are three primary checkpoints: Entry Level, Midpoint Check, and Exit Level. Evaluation of Majors I. Entry Level - Any student wanting to become a Music Major must take the following diagnostics to determine where they should be placed in the curriculum at entry level. Both the Written Theory and Applied diagnostics must be successfully passed to become a Music Major. Until the time that these two diagnostics are successfully passed, a student may hold the status of a Provisional Music Major. If a student fails to move from the Provisional status after two semesters of study, the faculty will recommend that he or she pursue another degree. Entry level diagnostics:
A. Keyboard Placement (placement in appropriate class piano or private piano) B. Written Theory Exam (placement in MUS 1000 - Fundamentals or MUS 2010 - Theory I)
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C. Aural Theory Exam (placement in Aural Theory I-IV; Enrollment in Aural Theory I will co-requisite to enrollment in Theory I [written]).
D. Applied placement for all students. (Students performing skills will be evaluated with the departmental rubric, which will be used in subsequent evaluations at the mid-point and exit level evaluations to track progress of these skills). 1. Students who pass will move directly to applied lessons. 2. Voice and guitar majors who do not pass will be placed in class study or elective
study. 3. Other instrumental students who do not pass will be placed in elective study.
II. Midpoint Check - Students will be evaluated at the end of their fourth semester of study to determine if they show the aptitude to continue into upper division study. Three areas will be used to evaluate these students.
A. Piano proficiency. Music Liberal Arts (General) students and Music Education students should have passed their piano proficiency by their 4th semester or be enrolled in Class Piano IV with at least a B- average while Music Liberal Arts (Commercial) students should have passed their piano proficiency or be enrolled in Class Piano II with at least a B- average.
B. 4th semester jury/Applied proficiency. Students must pass their 4th semester jury with the requisite scores on the appropriate rubric.
C. A general understanding of music as evidenced by a GPA of at least 2.5. If a student is deficient in one area, they will be given a semester to rectify the issue. If the student fails to do so, the faculty will recommend that the student should not continue to pursue this degree. If a student is deficient in more than one area, the faculty will recommend that the student should not continue to pursue the degree immediately after the fourth semester. III. Exit Level
D. Senior Recital, Senior Performance for the Music Major, or Senior Project (Music Technology, Songwriting, Worship Leading or Composition)
E. Student Teaching (Music Education Majors only) * Music Education students must also apply for admission to the Teacher Education program and for student teaching. Those requirements are listed in Appendix I in the survival guide for Music Education majors. Health and Safety for the Musician
In a 1987 survey of members of the International Conference of Symphony and Opera Musicians (ICSOM), 76% reported having at least one medical problem severe enough to affect performance, and 36% reported four severe problems. When members of eight orchestras were interviewed and examined, 64% had painful overuse syndromes. The prevalence ranged from 75% among strings players to 32% among percussionists. Keyboard players were also at high risk. The reasons for instrument-specific variations in prevalence are complex. However, the total daily playing time, instrument size and weight, playing position, differences in the distribution of men and women in various orchestra sections, technical demands of the music, and personal drive all contribute. Student musicians also experience painful overuse syndromes at rates that have been reported to range between 9% and 49%. Approximately 5% to 11% of music majors at one university music school developed hand problems each year during a four-
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year period. The incidence of hand problems in women was about twice as high as that in men.
Voice problems. Musicians and actors are at risk for many disabling ailments. These include vocal abuse in singing or speech; vocal cord nodules, polyps, cysts, or swelling; and infectious or allergic laryngitis. In addition, the human voice is particularly sensitive to endocrinologic changes, systemic illnesses such as anemia or mononucleosis, and any inhaled or ingested substance. Symptoms of hoarseness, breathiness, loss of range, vocal fatigue, chronic cough, frequent throat-clearing or unusual sensations in the throat should be evaluated.
Overuse Syndromes. The majority of patients suffer from overuse syndromes: symptom complexes defined as injuries caused by the cumulative effects on tissues of repetitive physical stress that exceeds physiologic limits. Women are more commonly affected than men. Immediately before the syndrome develops, increases in practice or work time, in the technical difficulties of the repertoire or equipment use, or in the levels of psychological stress are common. Use of new instruments or equipment, previous injury, or excessive joint mobility may be contributing factors. Each instrument or piece of equipment has its own unique size and shape and utilization requirements that lead to overuse injuries. Because problems are exacerbated or frequently evident only while the musician or the artist/designer is working, they should be examined during and immediately after working. Common locations for overuse syndromes include the fingers, wrist, elbow, shoulder, neck, and low back. Common symptoms include pain, weakness, and loss of fine motor control. Overuse syndromes can affect bones, ligaments, bursae, tendons and muscle, and can become serious problems if not appropriately treated.
(EXCERPTED) An Overview of Health Issues for Performing and Visual Arts Students March 1991 Reprinted May 2009 COUNCIL OF ARTS ACCREDITING ASSOCIATIONS
HEARING HEALTH Noise Levels and Risk
Prolonged exposure to any noise or sound over 85 decibels can cause hearing loss. A decibel, defined by Merriam-Webster as “a unit for expressing the relative intensity of sounds on a scale from 0 for the average least perceptible sound to about 130 for the average pain level” is abbreviated “dB.”
The longer one’s exposure to a loud noise, the greater the potential for hearing loss.
The closer a person is to the source of a loud noise, the greater the risk for damage to the hearing mechanisms.
Consider these common sounds and their corresponding decibel levels:
30 dB – A Whisper50 dB – Moderate Rain60 dB – The Average Conversation70 dB –
Passing Freeway Traffic80 dB – Alarm Clock90 dB – Blender, Food Processer, Blow-Dryer;
The Subway100 dB - MP3 Players at Full Volume; Lawnmower, Snowblower 110 dB – Rock
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Concerts and Sporting Events; Power Tools120 dB – Jet Planes at Take Off130 dB – Sirens;
Race Cars; Jackhammers140 dB – Gun Shots; Fireworks
As a general rule, for every 3 dB above the 85 dB threshold, the intensity of a noise rises exponentially. For example, a 100 dB noise or sound has 32 times the destructive power of an 85dB sound or noise.
“Safe” exposure time is reduced by 1⁄2 for every 3 dB increase, a time/intensity relationship often referred to as the “exchange rate.” The 3 dB exchange rate is widely accepted as a means for developing scientific, evidence-based assessment of the potential for hearing impairment as a function of noise level and duration. The NIOSH chart in the next section shows the 3 dB exchange rate progression clearly.
Basic Protection for Musicians
On stage and in life, it is important for musicians to take steps to protect their hearing. Sometimes, however, it is not possible or preferable to completely avoid a loud sound or noisy environment. At these times, musicians and music faculty may wish to explore the following methods of hearing protection:
Earplugs – often made of foam or silicone; designed to be inserted into the wearer’s ear canal to protect against loud noise; some designed specifically for music applications.
Earmuffs – often consist of two protective foam pads connected by a headband or strap; designed to cover the wearer’s ears and protect against loud noise
Acoustical sound shields – generally made of clear plexi-glass or similar material; used to isolate and redirect the noise from a particular instrument or section of a band, orchestra, or ensemble; protects the hearing of musicians directly in front of the shielded instrument or section
Musicians often find that hearing protectors are not comfortable or that they create perceptual changes, even causing users to increase sound-intensity levels to compensate. One solution is to reduce the “average” sound-level exposure in rehearsals by making balanced repertory choices and giving greater attention to dynamic levels, especially in large or amplified ensembles. See Musicians and Risk of Noise-Induced Hearing Loss and Solo and Ensemble.
Protection also comes from regular behaviors such as:
Avoiding situations likely to pose a danger to hearing health.
Refraining from certain activities that can endanger hearing mechanisms.
Maintaining a safe distance from sources of loud noise.
At loud concerts, sitting or standing a “safe” distance from the stage and from speakers or other amplification devices.
Keeping MP3 players and other listening devices at “safe” volume levels. MP3 players need special attention. Normally, MP3 players generate about 85 dB at one-third of their maximum volume, 94 dB at half volume, and 100 dB or more at full volume. Translated into daily exposure time, according to NIOSH standards, 85 dB equals 8 hours; 94 dB, 1 hour; and 100 dB, 15 minutes. These numbers assume that an individual is not exposed to any other noise beyond 85 dB during the day.
Taking care with in-ear monitors, a device that has grown in popularity among musicians, especially in certain types of professional ensembles. These monitors can produce
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dangerously high sound levels. Musicians should see an audiologist or other qualified professional for a demonstration of safe practices before using an in-ear monitor for the first time and use the device in a manner that protects their hearing health.
Developing a sense of the extent to which daily exposure has exceeded safe volume levels and durations (see Noise Levels and Risk and Exposure Times and Risk.)
Taking breaks from exposure to elevated noise levels. (Enjoying quiet time.) See also Note 1 in the section Exposure Times and Risk.
(EXCERPTED) Basic Information on Hearing Health: Information and Recommendations for Administrators and Faculty in Schools of Music – NASM/PAMA: November 2011 SCHOLARSHIPS FOR MAJORS A limited number of Scholarships are awarded each year based on need, scholastic excellence in music, and performing ability. Dates for scholarship auditions are announced in the fall of the current academic year and are held in consideration for the following academic year. These dates are posted on the music department website, with one being held late in the fall semester, and one or two being held early in the spring semester. Students who do not complete the following audition and application requirements will not be considered for a scholarship. However, they may be considered for a scholarship in a later semester or for Freshmen incentive grants.
Awards are usually announced in early March. All scholarships must be renewed each year by the last Friday in February. Although on-campus auditions are preferred, in certain circumstances a DVD audition is acceptable. Please contact the Department Secretary for further information. Note: All on-campus scholarship auditions are video-recorded. Requirements for scholarships for majors:
1) Student must be a music major. 2) Recipient is to be paid fall semester and spring semester. 3) Recipient is to take private lessons in his/her performance area each semester, regardless of degree
requirements. 4) Recipient is to perform each semester in an assigned choral or instrumental music department
ensemble regardless of degree requirements. a) Students must have 3 hours minimum contact time in ensembles each week. b) Every vocal student must be in Choral Union. c) Every wind and percussion student must be in Wind Ensemble; however, a substitute ensemble
may be assigned based on departmental need. d) Every guitar student must be in a guitar ensemble based on departmental need and Fall and
Spring audition results. 5) Recipient must maintain an overall GPA of 2.50. 6) A grade of "F" in a music course is an automatic forfeiture of the scholarship for the following
semester. 7) Recipient must perform in at least one recital during the semester when studying private lessons.
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8) Pass Recital Attendance. To pass recital attendance student must attend the required number of recitals/concerts during each semester.
ENSEMBLE SCHOLARSHIPS Ensemble scholarships range from $500 to $3,000. These scholarships are awarded by the primary ensemble directors with the following requirements for students who receive these awards. $500-$1,000 Ensemble participation $1,001-$2,000 Ensemble participation and Private Lessons (elective or applied) $2,001-$3,000 Ensemble participation, applied private lessons and recital participation. ENDOWED MUSIC SCHOLARSHIPS The David Lunn Miller Scholarship Endowment – Members of the family of Dr. David Lunn Miller, former professor, funded this scholarship which will provide assistance for students who are taking private organ lessons. Jonathan Gaertner Scholarship Endowment – Rev. Robert Gaertner established this scholarship to honor his son Jonathan. Students, preferably piano majors, are eligible for this award with preference given to those who plan to use their education in the Christian community. Mary Dell and Hobert Hendrix Memorial Scholarship – Bill and Dona Harris have established this scholarship in memory of Mary Dell (Harris) Hendrix and Rev. Hobert Hendrix. Students pursuing a degree in ministry, preaching or music, may qualify for this award. Speer Family Scholarship – This scholarship, established to honor the music ministry of the members of the Singing Speer Family, will provide scholarship assistance to students majoring in music with a preference for vocal performance. Templeton-Powell Music Scholarship – Charles W. Powell and Jerry B. Powell have established this scholarship in honor of their granddaughters, Melissa and Jennifer Templeton-Powell. Students preparing for a degree in music may qualify for this scholarship. The Edward Tarpley Music Scholarships – The Edward Tarpley Music Scholarship Endowment was established by an estate gift from Mr. Edward Tarpley. Mr. Tarpley was a long-time member of the Trevecca Symphony Orchestra and a good friend of the Trevecca community. The purpose of this endowment is to provide scholarship funds to support students who are studying a stringed instrument. AWARDS Each year an award is given to an outstanding music major. Entitled Musician of the Year, it is presented in the annual university Awards Chapel to the person who, in the opinion of both his peers and the faculty, has displayed outstanding musical ability and contribution to the Department's music program, has shown personal growth and development through participation in instrumental and/or choral activities, and has displayed qualities of citizenship and service to the
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Department. The award is voted on by all majors and faculty in the spring semester each year. In addition, music awards are presented to outstanding ensemble members and one outstanding pianist each year. The names of these recipients are displayed on plaques on the second floor of the Wakefield Fine Arts Building. APPLIED GUITAR/BASS STUDY Private guitar/bass study is available for either 1 hour or 2 hours of credit. Those taking for 1 credit hour receive a 30 minute lesson each week. Those taking for 2 credit hours receive a 1 hour lesson each week. Consult your specific degree program for the total number of credit hours required for graduation. Lower level (first four semesters) applied guitar and bass students are required to be enrolled in 1 credit hour of both commercial and classical lessons. It is imperative for the student to be enrolled in both traditions of their instrument to achieve proper technique, refinement and exposure. Generally speaking, students taking 1 credit hour of private instrumental study should practice 4-6 hours per week. Students taking 2 credit hours should practice 8-10 hours per week. The Wakefield Fine Arts Building is equipped with both practice rooms and sound-proof Wenger units, all with pianos, for your practice sessions. Additional practice space is available within the Arts Annex (Guitar portion). For scheduling please contact the Department of Music secretary or the Coordinator of Guitar and Bass Studies. Group instruction is also available for guitar students. Beginning Class Guitar is recommended for majors who are not comfortable with reading notation as an introductory course. This class is also open to minors, elective students, and music majors wishing to pursue guitar as a secondary instrument. Intermediate Guitar is offered for those who have some experience with the guitar, but would prefer to study in a classroom setting instead of privately. In addition, specific guitar classes are offered for those interested in worship leading and songwriting. Admission and Placement Students wishing to study guitar or bass, whether as a music major/minor or for elective credit, must audition with the guitar and bass coordinator. The audition determines whether the student will be placed in class guitar study, elective lessons for the first semester, or be placed in private study. Unless the student wishes to be considered for scholarships (See Scholarships), auditions are held on departmentally selected dates in the late spring and late summer, or by appointment. The audition requirements, which also serve as the basis for scholarship consideration, are as follows:
1. Guitar Audition The prospective student should prepare two of the following three choices for admission into the applied guitar program:
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A) A popular jazz standard (Jazz standards can be found in The Real Book: Sixth Edition by Hal Leonard or any popular jazz fake book; Examples of song choices: Satin Doll, How High the Moon, Autumn Leaves, Blue Bossa, etc.)
a) Play melody of jazz standard from beginning to end b) Play chords of entire song c) Improvise a solo over the entire song form
B) Perform a classical guitar piece of student’s choosing. a) Example - Etude by Carcassi, Sor, Bach, Giuliani, etc.
C) Perform a piece of student’s choosing (rock, jazz, fusion, country, pop, etc.)
a) Please provide a play-along track unless it is an unaccompanied song b) Performance should include melody, chords and improvised solo
The prospective guitar student’s knowledge of chords, arpeggios and major and minor scales will be ascertained during the audition process. Sight reading skills will also be tested during this process.
2. Bass Audition The prospective student should prepare two of the following three choices for admission into the applied electric bass program: A) A popular jazz standard. (Jazz standards can be found in The Real Book: Sixth Edition
by Hal Leonard or any popular jazz fake book). Examples of song choices: Satin Doll, How High the Moon, Autumn Leaves, Blue Bossa, etc.
a) Play melody of jazz standard from beginning to end b) Walk a bass line over the chords of entire song c) Improvise a solo over the entire song form
B) Perform a classical piece of student’s choosing.
a) Student may reference J. S. Bach for Bass, by Josquin de Pres or Easy Classical Bass Solos by Javier Marco.
C) Perform a piece of student’s choosing in the style of any popular bassist in
commercial music (rock, funk, jazz, fusion – Victor Wooten, Marcus Miller, Stanley Clark, Geddy Lee, Steve Harris, Flea, James Jamerson, Chris Squire, Brian Bromberg, Jaco Pastorius, etc.) a) Please provide a play-along track unless it is an unaccompanied song b) Performance should include bass line and improvised solo (if applicable)
The prospective bass student’s knowledge of chords, arpeggios and major and minor scales will be ascertained during the audition process. Sight reading skills will be tested during this process. Once the prospective student has auditioned, they will be informed of the decision as to their placement in a class option, elective lessons, or private lessons.
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Guitar Seminar All students enrolled in private applied guitar study are required to attend Guitar Seminar. Guitar Seminar provides the student a platform for performance on a regular basis before his or her peers. On occasion, guest teachers may be present to offer advice. Students are required to attend each seminar, whether performing or not. Juries/Commercial Applied Proficiencies Juries All students taking applied lessons (excepting those taking for elective credit) are required to perform a jury as part of their final grade. The jury, which falls at the end of the semester, counts as part of the final applied grade, and is adjudicated by members of the music faculty including the applied teacher. The applied teacher will assign the selections/requirements for performance at the jury. Students are required to sign-up for a jury time approximately two weeks before juries, assuring their accompanist can be present before signing. Students are to arrive 15 minutes before their jury time, with all completed jury forms in hand. Please have all of your materials preparation completed by your jury time. Plan on having 4 copies of the material unless otherwise informed. Students are to dress nicely for their jury. Fourth Semester Jury/Commercial Applied Proficiency All fourth semester students must present a 4th semester jury. For classical students (MUS) these are called “Fourth Semester Jury,” for commercial students wishing to pursue the technology internship in place of continued applied study they are called “Commercial Applied Proficiency.” This 20-30 minute jury is especially crucial, for at this time a student normally passes into Upper Division applied lessons (4000 level) applied credit. A student must have passed 4 semesters of Lower Division applied lessons with a grade of C- or above, and must have their applied instructor’s written approval to schedule a fourth semester jury. Forms for approval and the rubrics are available in the music office. For 4th semester juries/commercial applied proficiencies, the student must be prepared to perform a minimum of 2 songs if they include a multi-movement selection and usually at least 3 songs. For wind and string instruments at least one movement or selection should be memorized. The selections performed should demonstrate familiarity with literature from different historical epochs of western music as well as mastery of different techniques (lyrical, technical, etc…). In addition all major and minor scales should be memorized for spot-checking by the jury and a short sight-reading excerpt will be given to the student to play. The requirements for 4th semester students to pass the jury/applied proficiency are spelled out in the appropriate rubrics. The student should make three copies of each selection for the professors hearing the jury.
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Rubrics In an attempt to unify expectations from studio to studio and to inform the student of expectations necessary to progress through study, the department has developed a set of rubrics. These rubrics are most important to the student who is a music major or minor at three points: 1) admission to study, 2) the fourth semester jury/applied commercial proficiency, 3) the senior recital. The expectations outlined in the rubrics, then, serve two essential purposes. First, they set a standard for all students to work toward. Second, they provide guidelines for the faculty when deciding to allow the voice student to move to upper division study or perform the senior recital. Thus, the faculty, in making these decisions, follows these instructions: Applied Rubric Instructions
The requirement for all students is to reach the “proficient” level in each category on the appropriate rubric by their senior recital; however we encourage students to strive to score in the “exemplary” level on as many criterions as possible.
Students are allowed to score below the required level on one criteria per category as long as they score above the required level on at least one criteria as well.
A student may not score more than one level below the expected level on any criteria and pass the jury.
See Appendices for the appropriate rubric. CLASSICAL RECITALS/COMMERCIAL PERFORMANCES Student Recitals The Department sponsors student recitals regularly to give the student experience in performing and to give other students opportunity to hear their peers, expose them to additional repertoire and develop their critical faculties. Students will perform in these recitals at the discretion of their instructor. Students with scholarships must perform on a Student Recital once each semester when studying in private lessons as required by his/her major. Junior After passing the fourth semester jury and entering upper division study, students may elect, with written approval from their teacher, to perform an optional classical junior recital (MUS) or commercial performance (MCM). The recital/ performance may be presented in either semester of the junior year. For the classical student, the 25 minute recital will be composed of classical works from various style periods. For the commercial student, the 25 minute performance will be composed of commercial works of various styles. This is an elective for music students (not necessarily music majors or minors). The student must be both concurrently enrolled in applied study registered for either course number MUS 3700 (if classical) or MCM 3700 (if commercial).
16
A Student Submission Form must be completed and signed by the private instructor and submitted to the Departmental chairperson to schedule a Junior Recital. Presentation of a junior recital/commercial performance does not waive the jury requirement.
Senior For Music Majors All senior music majors are required to present a Senior Recital (classical) or Senior Commercial Performance (unless a student has opted out for the recording internship or the songwriting/composition option—must have taken at least 2 semesters of lessons in the appropriate area and completed the prerequisites). For the classical student, the 50 minute recital is composed of classical works from various style periods and must be accompanied by acoustic instruments. For the commercial student, the 50 minute performance is composed of commercial works of various styles and may be accompanied by rhythm section and back-up singers. The use of sound amplification equipment run by a qualified sound technician(s) is also allowed or Senior Commercial Performances. The candidate must perform a representative portion of the recital before the appropriate faculty members one month preceding the scheduled public performance, and must be both concurrently enrolled in private study for 2 credit hours and enrolled in either MUS 4600 (classical) or MCM 4600 (commercial). All instrumentalists, vocalists, and sound technicians must be present for this hearing. This hearing replaces the senior jury during the semester in which the senior recital/commercial performance is to be presented. A Student Submission Form must be completed and signed by the private instructor and submitted to the Departmental chairperson to schedule a Senior Recital. Senior Projects Students wishing to pursue the Senior Project route must declare their intent at the 4th Semester Jury. They must also fill out a Senior Project form at the time they register for their Senior Project, which will need to be approved by both their area coordinator and Department Chair. The following broad criteria apply: Music Technology projects typically consist of a recording project that has been produced, recorded and mixed by the student. Performing on the project and/or a CD release event are optional components. Songwriting projects typically consist of a performance of original songs written during a student’s time at Trevecca that is produced and oftentimes performed by the student. Vocalists must sign up for elective private voice in the semester of their Senior Project if they will be the lead singer on the performance.
17
Worship Leading projects typically consist of a liturgy designed and lead by the student. Vocalists who will be leading the service should be taking Elective Private Voice the semester of their Senior Project. Composition projects typically consist of a portfolio component and a performance component (either digital or live). Other projects may sometimes combine several of these different components or be a unique presentation of skills/artifacts learned/created while at Trevecca.
Music and Program The final repertoire list is to be decided in consultation with and approval by the applied instructor and forwarded to the Department chair for approval two weeks prior to the Senior Jury. A program in written form must be presented at recital. Final program information for the Senior Recital should be given to the Department secretary no later than two weeks before the proposed recital date. For Non-Music Majors Non-music majors wishing to perform a public recital may do so only with written approval from their private instructor. The student must have completed a minimum of eight consecutive semesters of applied study. For the classical student, the 25 minute recital will be composed of classical works from various style periods. For the commercial student, the 25 minute performance will be composed of commercial works of various styles. Accompaniment for either classical recital or commercial performance is limited to acoustic piano or guitar and no sound reinforcement is allowed. The student must be concurrently enrolled in applied study and registered for either MUS 3750 (classical) or MCM 3750 (commercial). Concerto Competition: In the spring semester of each year, the Department of Music holds the Concerto Competition, which is open to all students enrolled in private applied instrumental study who receive permission from their private instructor to compete. The competition carries with it cash awards for First, Second and Third Place winners. The First Place winner is also awarded the opportunity to perform his/her winning selection with the Trevecca Symphony Orchestra. All competitors are afforded the opportunity to perform their selection on a special recital held later in the semester. Memorization is not a required component for this competition.
Commercial Guitar Curriculum (Lower Division) First Semester I-IV-V in voice-led triads and power chords (sharp keys) Drop 2 voicings of major7, minor 7, dom7, half dim7 (3 keys) All modes (3 note per string) Sight reading
18
Performance of 1 jazz standard: head, chords and improvise OR a jazz chord melody, memorized. Second Semester I-vi--IV-V in voice-led triads and power chords (sharp keys) Drop 2 voicings of major 7, minor 7, dom7, half dim7 (flat keys) All modes (3 note per string) (3 keys) 2 octave maj7, minor7, dom7, half dim7 arpeggios Sight reading Performance of 1 jazz standard: head, chords and improvise OR a jazz chord melody, memorized. Third Semester I-IV-V in voice-led triads and power chords (flat keys) I-vi-IV-V in voice-led triads and power chords (flat keys) Drop 2 voicings of major7, minor7, dom7 (sharp keys) All modes (3 note per string) (flat keys) Sight reading (including chord reading) Performance of 2 jazz standards: head, chords and improvise OR a jazz chord melody, memorized. Fourth Semester I -IV-V and I-vi-IV-V triads and power chords (all keys) Drop 2 voicings of maj7, minor7, dom7, half dim7 (all keys) All modes (3 note per string) (all keys) 3 octave major scale 2 octave harmonic minor 2 octave melodic minor (jazz minor) Sight reading (including chord reading) Performance of 2 jazz standards: head, chords and improvise OR a jazz chord melody, memorized.
Classical Guitar Curriculum (Lower Division) Required Texts: Pumping Nylon by Scott Tennant 120 Daily Exercises for the Right Hand by Mauro Giuliani Major and Minor Diatonic Scales by Andres Segovia Bach for Guitar: Masters in Tab by Howard Wallach First Semester Weekly sightreading
19
Open string arpeggios; Individual String Studies 120 Daily Exercises for Guitar #1-17 Open major scales: keys of C,F,G,D,A,E, 2 OCTAVES; Pedal Scales: keys of C,G,D,A,E Parallel 10th exercises: keys of C and G; Parallel Chromatic Octave drill; Finger alignment Drill Suggested Repertoire: Etude Andantino by Carcassi; Etude Andantino Op.59 by Carcassi; Etude Andante Op.35, #1 by Sor. Second Semester Weekly sightreading; Natural, Harmonic and Melodic minor scales, 2 octaves, open and ii position, D minor and A minor; Major arpeggios in open position, keys of C,F,G,D,A,E Parallel 10th exercises Key of F; Chromatic scale and parallel chromatic octaves drill Finger alignment drill; Legato exercises (pull-off, hammer on); 120 Giuliani Studies #17-30 Suggested Repertoire: Adagio in E minor by Aguado; Tremolo Study Op. 60 #7 by Carcassi; Etude Op.31 #3 Allegretto Moderato by Sor; Etude I(Estudio Sencillos) by Brouwer; Rujero Y Paradetas Anonymous Third Semester Weekly sightreading; Natural, Harmonic and Melodic minor scales, 2 octaves, open and ii position, E minor, C minor; Minor arpeggios in open position, keys of C,F,G,D,A,E; Parallel 10th
exercises, key of A Major and E Major Giuliani Daily Studies #31-45 Suggested Repertoire: Etude in E minor by Villa Lobos; Bouree from Lute Suite BWV 996 by JS Bach; Etude V by Brouwer; Etude #14 by Carcassi; Alman by Johnson Fourth Semester Andres Segovia scales, C Major, A Melodic Minor, G Major, Natural, Harmonic and Melodic minor scales, 2 octaves, open and ii position, F minor and B minor Parallel 10th exercises, comprehensive 15 Giuliani Daily Studies #46-60 Suggested Repertoire: Guarda me las vacas by Narvaes; Adelita by Tarrega; Lagrima by Tarrega; Prelude from Cello Suite BWV 1007 by JS Bach; Prelude from the Lute Suite in D Minor BWV 999 by JS Bach Electric Bass Curriculum (Lower Division) Required Texts The Evolving Bassist by Rufus Reid
Patterns for Jazz by Jerry Coker
20
J.S. Bach for Bass by Josquin des Pres
First Semester Scales and Modes (Rufus Reid) Major Scale Patterns (Coker) Introduction to Diatonic Modes Individual song assignments for stylistic awareness Sight reading Performance of at least 1 jazz standard: head, chords and improvise OR a jazz chord melody, memorized. Second Semester Walking Bass Exercises (Rufus Reid Section I) Introduction to cycle of fifths/fourths Modes and scalar patterns utilizing cycle of fourths/fifths Bach Cello Suite in G Major (des Pres) Individual song assignments for stylistic awareness Sight Reading Performance of a minimum of 1 jazz standard: head, chords and improvise OR a jazz chord melody, memorized. Third Semester Walking Bass Exercises (Rufus Reid Section II) Bach Cello piece of student’s choosing (guided by instructor) Modes and scalar patterns utilizing cycle of fourths/fifths Improvisational studies for development of walking bass lines and soloing Individual song assignments for stylistic awareness Sight reading Performance of a minimum of 2 jazz standards: head, chords and improvise OR a jazz chord melody, memorized. Fourth Semester Walking Bass Exercises (Rufus Reid Section III and IV) Bach Cello piece of student’s choosing (guided by instructor) Modes and scalar patterns utilizing cycle of fourths/fifths Improvisational studies for development of walking bass lines and soloing Individual song assignments Sight reading ; Performance of 2 jazz standards: head, chords and improvise OR a jazz chord melody, memorized.
Ensembles for Guitar and Bass
21
Acoustic Ensemble The Acoustic Ensemble, under the direction of instructor Steve Krenz, provides an exciting environment for guitar or bass students to improve sight-reading skills and refine classical/finger style and commercial techniques. Students have the opportunity to focus on different styles of music in an acoustic instrumental environment ranging from classical to Celtic to Latin to jazz. This ensemble meets for the Fall semester. Commercial Ensemble Commercial Ensemble performs a diverse range of commercial music from contemporary and classic rock to contemporary Christian. This group consists of guitars (lead, rhythm), electric bass, vocalist(s), keyboard and drummer. This ensemble directed by Kelli Cox performs during the Spring Semester. Lab Bands I and II Lab Bands I and II, under the direction of Jeff Cox, is a by-audition-only ensemble that allows students to explore rock, funk, modern jazz and fusion elements. Students will improve their musical skills through sight reading, improvisation and ensemble playing. Students participating in this ensemble are encouraged to submit their own arrangements for performance. Lab Band I meets both Fall and Spring, while Lab Band II only meets for the Fall semester. Auditions are open to all students. In addition to the ensembles listed above, Jazz Ensemble and Jazz Combo I and II afford our guitar and bass students more opportunities to develop their musicianship within an ensemble setting. For interest in these groups please contact your advisor. Jazz Combo The Jazz Combo is a chamber ensemble that focuses on jazz repertoire and improvisation in a small group setting. Participants include Guitar, Piano, Bass, Drums, Woodwind and Brass. The ensemble is under the direction of Mr. Jeff Cox.
ACCREDITATION
Trevecca Nazarene University is accredited by the Commission on Colleges of the Southern Association of Colleges and Schools to award associate, baccalaureate, master's and doctoral degrees. Contact the Commission on Colleges at 1866 Southern Lane, Decatur, Georgia 30033-4097 or call 404-679-4500 for questions about the accreditation of Trevecca Nazarene University.
Normal inquiries about Trevecca Nazarene University such as admissions, financial aid, and educational programs should be addressed directly to the University and not to the Office of the Commission on Colleges. Interested constituents should contact the Commission on Colleges of the Southern Association of Colleges and Schools only if there is significant evidence for alleged non-compliance with a standard or requirement.
22
Trevecca Nazarene University is an accredited institutional member of the National Association of Schools of Music, 11250 Roger Bacon Drive, Suite 21, Reston, Virginia 20190; Telephone number 703-437-0700. Trevecca is a member of the American Association of Colleges of Teacher Education, Council of Independent Colleges, National Association of Independent Colleges and Universities, Association of Church Related Colleges and Universities, Council for the Advancement of Experiential Learning, Council for Christian Colleges and Universities, Tennessee College Association, Tennessee Council of Private Colleges, Tennessee Institute of Private Colleges, Christian Stewardship Association, and Tennessee Independent College and University Association. COMMUNITY ENGAGEMENT/SERVICE The Department seeks to provide musical activities for all students and faculty at the University, as well as interested members of the community. Concerts and recitals are presented through which those in attendance may be aesthetically enriched and gain a greater breadth and understanding of music. A recital schedule is printed each semester and is available on line at http://www.trevecca.edu/music/Music Calendar.
Trevecca also offers opportunities for the community to perform in on-campus groups. Including but not limited to the Master Chorale and the Trevecca Symphony Orchestra.
23
APPENDIX I
24
APPENDIX I (continued)
25
APPENDIX I (continued)
26
APPENDIX II
TREVECCA NAZARENE UNIVERSITY
Department of Music
Applied Assessment Rubric
Guitar
Date: ___________ Name: ________________________________________ Major: ________________________ Concentration _________________________
Repertoire: 1st Piece ______________________________ 2
nd Piece ______________________________ 3
rd Piece ______________________________
SCALES: Exemplary (4) Proficient (3) Emerging (2) Basic (1) Unsatisfactory (0) Score
Knowledge of Scale Modes, Chords & Arpeggois Adequate/Steady Tempo Articulation Total 9 or higher to pass Senior Level 6 or higher to pass 4th semester 3 or higher to pass entry level 2 or below
SIGHT READING: Exemplary (4) Proficient (3) Emerging (2) Basic (1) Unsatisfactory (0) Score
Note Accuracy No inaccuracies are present in
this area.
A few notes are fingered are
produced incorrectly. They
detract from the overall performance but the overall
concept of the piece is accurate
Some notes are produced
incorrectly. They detract from
the overall performance but the overall concept of the piece is
acceptable.
Many notes are produced
incorrectly. The basic concept
of the piece is evident.
Most notes are produced
incorrectly. The performance is
disrupted
Rhythmic Accuracy No inaccuracies are present in this area.
A few rhythms are performed incorrectly.
They detract from the overall
performance but the overall concept of the piece is accurate.
Some rhythms are performed incorrectly. They detract from
the overall performance but the
overall concept of the piece is acceptable.
Many rhythms are performed incorrectly. The basic concept
of the piece is evident
Most rhythms are performed incorrectly. The performance is
disrupted
Musicality/Phrasing The piece is played with
appropriate style and expressive
elements
The piece is played with mostly
appropriate style and expressive
elements
An attempt is made to
approximate the appropriate
style and expressive elements
The piece is performed merely as
a succession of notes and rhythms
Total 8 or higher to pass Senior level 6 or higher to pass 4th semester 3 or higher to pass entry level 2 or below
PERFORMANCE: Exemplary (4) Proficient (3) Emerging (2) Basic (1) Unsatisfactory (0) Score
Note Accuracy There are no blatant note
inaccuracies and the overall
performance is clear.
Only one or two rhythmic
inaccuracies occur during the
jury. The overall
performance is clear.
Minimal note may occur with
minimal detraction from the
overall performance.
A few notes are fingered are produced incorrectly. They
detract from the overall
performance.
Many notes are fingered or produced incorrectly. The
performance is disrupted
Rhythmic Accuracy There are no blatant
rhythmic inaccuracies and
the overall performance is
clear.
Only one or two rhythmic
inaccuracies occur during the
jury. The overall
performance is clear.
Minimal rhythmic
deficiencies may occur with
minimal detraction from the
overall performance.
A few rhythms are performed incorrectly. \They detract from
the overall performance
Many rhythms are performed incorrectly. The performance is
disrupted
Musicality
Style and Phrasing
The student transcends the
notes and rhythms and creates a musical moment. Professional
quality is evident.
Mostly appropriate choices are
made in regard to style and phrasing
Many appropriate choices are
made in regard to style and phrasing
Some appropriate choice are
made in regard to style and phrasing
The piece(s) are played as merely
a succession of notes
Technique Professional level. No flaws. Total 11 or higher to pass Senior level 8 or higher to pass 4th semester 4 or higher to pass entry level 3 or below
_____________________________________________
Individual completing this form
27
APPENDIX III
Department of Music
Courses Requiring Prerequisites
2013-2014
Courses Required Course(s) Required (Other)
MCM 1610 Class Piano II MCM 1600 Class Piano I
OR (instructor's
approval)
MCM 2010 Commercial
Theory MUS 2020 Theory II
MCM 2050 Recording
Techniques MCM 1050 Basic Concepts of Recording
PHY 1040 The Physics
of Sound,
Recommended
MCM 2090 Improvisation
II MCM 2080 Improvisation I
MCM 2600 Class Piano III MCM 1610 Class Piano II
OR (instructor's
approval)
MCM 2620 Class Piano IV MCM 2600 Class Piano III
OR (instructor's
approval)
MCM 3100 Introduction to
Songwriting MUS 2020 Theory II
Functional proficiency
on a chordal instrument
MCM 3300 Songwriting MCM 3100 Introduction to Songwriting
OR (instructor's
approval)
MCM 3910 Advanced
Recording MCM 2050 Recording Techniques
MCM 4050 Mastering MCM 3910 Advanced Recording
MCM 4210 Recording
Sound for Video and Film MCM 3910 Advanced Recording
MCM 4220 Editing and
Mixing Sound for Video
and Film MCM 4210 Recording Sound for Video and Film
MCM 4510 Music
Technology Internship MCM 3910 Advanced Recording
MCM 4600 Senior
Performance for Music
Majors MUS 3600 Keyboard Proficiency
MCM 4780 51/52
Songwriting Lessons
MCM 3100 Introduction to Songwriting; MCM 3300
Songwriting
MUS 1610 Class Piano II MUS 1600 Class Piano I
OR (instructor's
approval)
MUS 1650 Intermediate
Class Guitar MUS 1640 Beginning Class Guitar
OR (instructor's
approval)
MUS 1850 University
Handbell Choir
Ability to read rhythms
MUS 1860 Marching Band
Permission of the
instrumental instructor is
required.
MUS 2010 Theory I MUS 1000 Music Fundamentals(C- or better)
OR (passing theory
entrance test)
MUS 2020 Theory II MUS 2010 Theory I
MUS 2070 Aural Theory
II MUS 2060 Aural Theory I
28
Courses Required Course(s) Required (Other)
MUS 2600 Class Piano III MUS 1610 Class Piano II
OR (instructor's
approval)
MUS 2620 Class Piano IV MUS 2600 Class Piano III
OR (instructor's
approval)
MUS 2800 Elementary &
Preschool Music Teaching
Methodology Concurrent Course: EDU 2011 & EDU 2012
MUS 3010 Theory III MUS 2020 Theory II
MUS 3020 Theory IV MUS 3010 Theory III
MUS 3060 Aural Theory
III MUS 2070 Aural Theory II
MUS 3070 Aural Theory
IV MUS 3060 Aural Theory III
MUS 3110 Advanced
Conducting MUS 3100 Elementary Conducting
MUS 3510 Music Therapy
I
MUS 1620 Vocal Fundamentals; MUS 2010 Theory I;
MUS 2020 Theory II; MCM 2080 Improvisation I; PSY
2010 General Psychology; PSY 2175 Human Growth &
Development
2 years of private and/or
class study on piano or
guitar.
MUS 3520 Music Therapy
II MUS 3510 Music Therapy I
MUS 3800 Lyric Theatre
Ensemble
Audition and/or consent
of instructor
MUS 4010 Orchestration MUS 2020 Theory II
MUS 4020 Choral
Arranging MUS 2020 Theory II
MUS 4100 Seminar in
Advanced Conducting
Open only to those who have completed the regular
conducting sequence of courses
With consent of the
instructor
MUS 4600 Senior Recital
for Music Majors MUS 3600 Keyboard Proficiency
MUS 4780 51/52
Composition Lessons Theory Cycle (I-IV); Aural Theory Cycle I-IV)
29
APPENDIX IV
Department of Music
Tentative Course Offerings 2013-2017
*As need to fulfill graduation requirements
**Not open to first semester Freshmen
Courses
Fall
2013
Spring
2014
Summer
2014*
Fall
2014
Spring
2015
Summer
2015*
Fall
2015
Spring
2016
Summer
2016*
Fall
2016
Spring
2017
Summer
2017*
MCM 1050 Basic
Concepts of
Recording** X X X X X X X X
MCM 1500 Keyboard
Techniques X X X X X X X X
MCM 1600
Class Piano I X X X X
MCM 1610 Class Piano II X X X X
MCM 1625
Vocal
Fundamentals II X X X X
MCM 1650
Guitar for the
Songwriter X X X X
MCM 1800 Gospel Choir X X X X X X X X
MCM 1825
Vocal Edge
Ensemble X X X X X X X X
MCM 1846 Commercial
Ensemble X X X X X X X X
MCM 1880
Lab Band X X X X X X X X
MCM 2010 Commercial
Theory X X X X
MCM 2050
Recording Techniques X X X X
MCM 2080
Improvisation I X X
MCM 2090
Improvisation
II X X
MCM 2150 Commercial
Music
History X X X X
MCM 2420 Jazz History I X X
MCM 2430
Jazz History
II X X
MCM 2600 Class Piano
III X X X X
MCM 2620
Class Piano IV X X X X
30
Courses
Fall
2013
Spring
2014
Summer
2014*
Fall
2014
Spring
2015
Summer
2015*
Fall
2015
Spring
2016
Summer
2016*
Fall
2016
Spring
2017
Summer
2017*
MCM 2780
The Working Musician X X X X
MCM 3100
Introduction
to Songwriting X X X X
MCM 3300
Songwriting X X X X
MCM 3700
Junior Performance*
as needed
as needed
as needed
as needed
as needed
as needed
as needed
as needed
MCM 3750
Senior
Performance for Non-
Music
Majors*
as
needed
as
needed
as
needed
as
needed
as
needed
as
needed
as
needed
as
needed
MCM 3910 Advanced
Recording X X X X
MCM 4015
Senior Project X X X X X X X X
MCM 4050
Mastering*
as
needed
as
needed
as
needed
as
needed
as
needed
as
needed
as
needed
as
needed
MCM 4210 Recording
Sound for
Video and Film X X X X
MCM 4220
Editing and
Mixing
Sound for
Video and
Film X X X X
MCM 4230 Advanced
Mixing
Techniques X X
MCM 4300 Jazz
Pedagogy*
as
needed
as
needed
as
needed
as
needed
as
needed
as
needed
as
needed
as
needed
MCM 4510
Internship X X X X X X X X
MCM 4600 Senior
Performance
for Music Majors X X X X X X X X
MCM 4780
51/52
Songwriting Lessons X X X X X X X X
MCM Private
& Elective Private
Instruction
(Music)* X X X X X X X X X X X X
MUS 1000 Music
Fundamentals
(online) X X X X
31
Courses
Fall
2013
Spring
2014
Summer
2014*
Fall
2014
Spring
2015
Summer
2015*
Fall
2015
Spring
2016
Summer
2016*
Fall
2016
Spring
2017
Summer
2017*
MUS 1000
Music Fundamentals X X X X X X X X
MUS 1060
Music
Technology X X X X
MUS 1200 Recital
Attendance X X X X X X X X
MUS 1500
Fine Arts X X X X X X X X
MUS 1515 Art for the
Music Major X X X X
MUS 1550
Music Appreciation
(online) X X X X
MUS 1600
Class Piano I X X X X
MUS 1610 Class Piano II X X X X
MUS 1620
Vocal
Fundamentals I X X X X
MUS 1640
Beginning
Class Guitar X X X X X X X X
MUS 1650 Intermediate
Class Guitar X X X X
MUS 1660
Guitar for Praise and
Worship X X X X
MUS 1820
Choral Union X X X X X X X X
MUS 1825 Madrigalians X X X X X X X X
MUS 1830
Wind
Ensemble X X X X X X X X
MUS 1831 Jazz
Ensemble X X X X X X X X
MUS 1835
Jazz Combo X X X X X X X X
MUS 1840 Chamber
Music
Ensemble*
as
needed
as
needed
as
needed
as
needed
as
needed
as
needed
as
needed
as
needed
MUS 1841
Trevecca
Symphony Orchestra X X X X X X X X
MUS 1842
Guitar
Ensemble X X X X
MUS 1843 Woodwind
Ensemble*
as
needed
as
needed
as
needed
as
needed
as
needed
as
needed
as
needed
as
needed
MUS 1844
Brass Ensemble*
as needed
as needed
as needed
as needed
as needed
as needed
as needed
as needed
32
Courses
Fall
2013
Spring
2014
Summer
2014*
Fall
2014
Spring
2015
Summer
2015*
Fall
2015
Spring
2016
Summer
2016*
Fall
2016
Spring
2017
Summer
2017*
MUS 1845
Percussion
Ensemble X X X X X X X X
MUS 1850
University Handbell
Choir X X
MUS 1860 Marching
Band X X X X
MUS 2010
Theory I X X X X
MUS 2020 Theory II X X X X
MUS 2060
Aural Theory
I X X X X
MUS 2070 Aural Theory
II X X X X
MUS 2200
Church Music
Practicum
as
needed
as
needed
as
needed
as
needed
as
needed
as
needed
as
needed
as
needed
MUS 2300
Brass Methods X X
MUS 2310
Woodwind
Methods X X
MUS 2320 String
Methods X X
MUS 2330
Percussion Methods X X
MUS 2410
History I X X
MUS 2420
History II X X
MUS 2440 World Music
and Culture
(online) X X X X
MUS 2440 World Music
and Culture X X X X
MUS 2520
Choral Literature
and
Pedagogy X X
MUS 2600 Class Piano
III X X X X
MUS 2620
Class Piano IV X X X X
MUS 2800
Elementary and
Preschool
Music Teaching
Methodology X X
33
Courses
Fall
2013
Spring
2014
Summer
2014*
Fall
2014
Spring
2015
Summer
2015*
Fall
2015
Spring
2016
Summer
2016*
Fall
2016
Spring
2017
Summer
2017*
(concurrent
with EDU 2011 or
2012)
MUS 2900 Applied
Proficiency X X X X X X X X
MUS 3010 Theory III X X X X
MUS 3020
Theory IV X X X X
MUS 3050
Instrument Repair X X
MUS 3060
Aural Theory
III X X X X
MUS 3070 Aural Theory
IV X X X X
MUS 3100
Elementary Conducting X X X X
MUS 3110
Advanced
Conducting X X X X
MUS 3400 Music for
Elementary
Classroom Teachers*
as needed
as needed
as needed
as needed
as needed
as needed
as needed
as needed
MUS 3410
History III X X
MUS 3420
History IV X X
MUS 3500 Hymnology X X
MUS 3510
Music
Therapy X X
MUS 3520 Music
Therapy II X X
MUS 3600
Keyboard Proficiency X X X X X X X X
MUS 3620
Diction for
Singers* X X
MUS 3700 Junior
Recital*
as
needed
as
needed
as
needed
as
needed
as
needed
as
needed
as
needed
as
needed
MUS 3750
Senior Recital for
Non-Music Majors*
as needed
as needed
as needed
as needed
as needed
as needed
as needed
as needed
MUS 3800
Lyric Theatre
Ensemble X X X X X X X X
MUS 4010 Orchestration X X X X
MUS 4020
Choral
Arranging*
as
needed
as
needed
as
needed
as
needed
as
needed
as
needed
as
needed
as
needed
34
Courses
Fall
2013
Spring
2014
Summer
2014*
Fall
2014
Spring
2015
Summer
2015*
Fall
2015
Spring
2016
Summer
2016*
Fall
2016
Spring
2017
Summer
2017*
MUS 4100
Seminar in Advanced
Conducting*
as
needed
as
needed
as
needed
as
needed
as
needed
as
needed
as
needed
as
needed
MUS 4150
The Church Music
Minister* X X
MUS 4170
The Music Educator
(concurrent
course EDU 4550) X X
MUS 4200
Keyboard
Literature and
Pedagogy*
as
needed
as
needed
as
needed
as
needed
as
needed
as
needed
as
needed
as
needed
MUS 4220
Woodwind Literature
and
Pedagogy*
as
needed
as
needed
as
needed
as
needed
as
needed
as
needed
as
needed
as
needed
MUS 4230 Brass
Literature
and Pedagogy*
as needed
as needed
as needed
as needed
as needed
as needed
as needed
as needed
MUS 4240
String
Literature and
Pedagogy*
as
needed
as
needed
as
needed
as
needed
as
needed
as
needed
as
needed
as
needed
MUS 4310
Vocal Literature
and
Pedagogy*
as
needed
as
needed
as
needed
as
needed
as
needed
as
needed
as
needed
as
needed
MUS 4330 Direct Study
in Music*
as
needed
as
needed
as
needed
as
needed
as
needed
as
needed
as
needed
as
needed
MUS 4420
Marching Band
Techniques*
as
needed
as
needed
as
needed
as
needed
as
needed
as
needed
as
needed
as
needed
MUS 4500
Seminary: Special
Topics in
Music and Literature*
as needed
as needed
as needed
as needed
as needed
as needed
as needed
as needed
MUS 4510
Career Internship in
Church
Music*
as
needed
as
needed
as
needed
as
needed
as
needed
as
needed
as
needed
as
needed
MUS 4520 Trevecca
Master
Chorale X X X X X X X X
MUS 4600 Senior
Recital for
Music Majors X X X X X X X X
35
Courses
Fall
2013
Spring
2014
Summer
2014*
Fall
2014
Spring
2015
Summer
2015*
Fall
2015
Spring
2016
Summer
2016*
Fall
2016
Spring
2017
Summer
2017*
MUS 4780
51/52 Composition
Lessons X X X X X X X X
MUS Private
& Elective Private
Instruction
(Music)* X X X X X X X X