Western Illinois University

SCHOOL OF MUSIC

FACULTYHANDBOO

K

Academic Year 2015-2016

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SCHOOL OF MUSIC ORGANIZATIONAL STRUCTUREAcademic Year 2015-2016

Director: Bart Shanklin Assistant Director: Moisés Molina Office Administrator, Budget & Personnel Matters: Tammy Fretueg Office Administrator, University Ensembles: Karla White

Recruitment Coordinator: Trista Trone Instrument Technician: Chad Walker

Piano Technician : Anthony Lang Recital Hall Manager: Joanie Herbert

Administrative Academic/Program Areas

Ensemble Areas Committees (cont.) Student Council

Undergraduate Studies/AdvisingMoisés Molina,Jeff Brown (UMCA)

Graduate Studies / AdvisingBrian Locke (FL 2015)Anita Hardeman

Performance/Public RelationsJoanie Herbert

Equipment/InventoryChad Walker – Instrumental/General;Rick Kurasz – Concert Percussion;Kevin Nichols – Marching/Jazz Perc.Terry Solomonson – Sound Equipment

Music Advisory CouncilBart Shanklin- Director;Moisés Molina-Asst. Dir./U.Studies; Courtney Blankenship-Music Business;Bruce Briney- Winds/ Percussion Area James Caldwell- Theory/ Composition Terry Chasteen- Voice/Choral Area;; John Cooper- Jazz Studies Brian Michael Fansler-Ensembles;Anita Hardeman-Humanities/HistoryJennifer Jones*(FL 2015)- Music Therapy;Christine Lapka- Music Education; Locke* (FL 2015) - Grad.Studies/Hum.Hist.;

Professional ProgramsMusic Education –Richard CangroChristine LapkaAdrianna Marshall

Music Business –Courtney Blankenship

Music Therapy –Jennifer Jones (FL 2015)Eileen Garwood

Jazz StudiesJohn Cooper – Coordinator;Bruce Briney, Matt Hughes, Kevin Nichols, John Mindeman, Michael Stryker, George Turner, John Vana

History/HumanitiesBrian Locke* (FL 2015), CoordinatorRich Cangro, Anita Hardeman, Douglas Huff, Matt Hughes, John McMurtery, Julieta Mihai, Paul Paccione, Terry Solomonson, Istvan Szabo, George Turner

KeyboardTammie Walker – Coordinator; Jeff Brown, Anita Hardeman; Michael Stryker, Accompanying staff –Minjung Seo, Po-Chuan Chiang, and Liang yu WangTBA– GA; TBA – GA; TBA– GA; TBA – GA; TBA – GA

Orchestra/StringsJulieta Mihai – Coordinator;Matt Hughes, Richard Hughey, Adrianna Marshall, Moisés Molina, Istvan Szabo,

BandsMichael Fansler-Director of Bands;Matthew Thomas-Assoc. Dir. of Bands;John Cooper-Jazz StudiesTBA-GA; TBA –GA; -GATBA-Jazz GA

VocalJames Stegall- Director of Choirs;Jonathan Saeger C.ChoirAngela Hand- Opera;Lynn Thompson-MadrigalsTBA- GA;TBA-GA; TBA - GA

Orchestral/StringsRichard Hughey-Director of Orchestras;TBA - GA

Committees

Recruitment CommitteeBart Shanklin – Convener;Bruce BrineyJohn CooperMichael FanslerRandall FaustRichard HugheyRick KuraszMoises MolinaTrista TroneJames Stegall

COFAC Exec. Planning Comm. Representative TBA

Graduate Studies

Undergraduate StudiesMoisés Molina – Chair; Courtney Blankenship, Jeffrey Brown, Rich Cangro, Terry Chasteen, Anita Hardeman, Jennifer Jones* (FL 2015), Christine Lapka, James Romig, Bart Shanklin (ex-officio)

Auditions/Talent GrantBart Shanklin – Convener (ex-officio);John Cooper, Michael Fansler, Richard Hughey, Rick Kurasz, Moisés Molina, James Stegall, Trista Trone,Tammie Walker,Two students TBA

Music Personnel CommitteeJames Romig, ChairJeff BrownJames CaldwellRich CangroEric GinsbergPaul PaccioneTammie Walker

Music EducationChristine Lapka – Chair; Rich Cangro,Michael Fansler, Adrianna Marshall, Moises Molina, Terry Solomonson, James Stegall, Matthew Thomas,

Faculty PerformanceMichael Stryker – Convener;Randall Faust, Eric Ginsberg, Rick Kurasz, John McMurtery, Julieta Mihai,

Grade Appeals / Academic IntegrityTerry Solomonson – Convener;Matt Bean, Eileen Garwood, Mary Kay Karn, Istvan

Music Education RepresentativeTBA

Music Fraternity/Sorority RepresentativeTBA

Music Therapy RepresentativeTBA

Music Business RepresentativeTBA

Choral/Vocal Area RepresentativeTBA

Bands Area RepresentativeTBA

Orchestra Area RepresentativeTBA

Jazz Area RepresentativeTBA

Keyboard Area RepresentativeTBA

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Julieta Mihai – Strings Area Tammie Walker-Keyboard Area;

Theory/CompositionJames Caldwell – Coordinator;Michael Ericson, Paul Paccione,James Romig

Voice/ChoralTerry Chasteen – Coordinator; Matt Bean,Angela Hand, Mary Kay Karn, James Stegall, Lynn Thompson, Bart Shanklin

Winds/PercussionBruce Briney – Coordinator, John Cooper, Michael Ericson, Michael Fansler, Randall Faust, Eric Ginsberg, Douglas Huff, Rick Kurasz, John Mindeman, John McMurtery, Kevin Nichols, Terry Solomonson, Matthew Thomas, John Vana

Brian Locke* (FL 2015)– Chair;Richard Cangro, John Cooper, Michael Fansler, Eric Ginsberg, Richard Hughey, Paul Paccione,James Stegall, Tammie Walker,Bart Shanklin (ex-officio)

Szabo, John Vana, Two students TBA

ConvocationKevin Nichols– Convener,Mary Kay Karn, John Mindeman, James Romig, Michael Stryker, John Vana, Student TBA

Summer Music Institute Advisory CommitteeBart Shanklin-ConvenerJeff BrownJohn CooperMike EricsonMike FanslerRichard HugheyMoises MolinaJames StegallTammy Walker

Accompanying Advisory CommitteeBruce BrineyTerry ChasteenMoises MolinaMinjung SeoTammy Walker

*Sabbatical Rev8/19/15 (tf)

TABLE OF CONTENTS

SCHOOL OF MUSIC ORGANIZATIONAL STRUCTURE – 2015-2016

1.0 – SCHOOL OF MUSIC MISSION AND GOALS STATEMENT

2.0 – ORGANIZATIONAL STRUCTURES AND FACULTY INFORMATION2.1 Administrative Structure2.2 Academic Area/Program Coordinators2.3 Directors of Ensemble Areas2.4 School of Music Committees2.5 Faculty Status2.6 Faculty Rank2.7 Student Activities2.8 Graduate Assistants2.9 Recital Hall Jury Examination Rotation2.10 Commencement Procession Rotation2.11 Summer Teaching Rotations

3.0 – COMMUNICATION3.1 Minutes of Faculty Meetings and Music Committees3.2 Performance Calendar Updates3.3 Campus Connection3.4 Concert Publicity 3.5 Position Announcements

4.0 – MECHANICS4.1 Keys

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4.2 University Mail4.3 Telephone Usage4.4 Office Supplies4.5 Faculty Schedule Forms4.6 Budget Requests4.7 Requesting Copying and Support Staff Services4.8 Faculty Computers4.9 The Front Office Area4.10 Inventory

5.0 – POLICIES AND PROCEDURES5.1 Classroom and Rehearsal Hall Use and Reservation5.2 Graduate Assistants5.3 Student Help5.4 Recital/Concert Attendance Requirement5.5 Talent Grant/Tuition Waivers5.6 Instrument Checkout and Loan

6.0 – TEACHING ASSIGNMENTS6.1a Faculty Loads6.1b Course Rosters, Tenth Day of Classes, and Faculty Loads6.2 Office Hours6.3 Ensemble Participation of Applied Students6.4 Ordering Texts6.5 Syllabi6.6 Class Rolls6.7 Early Warning Notice6.8 Examinations6.9 Jury Examinations6.10 Student Evaluations of Teacher and Course6.11 Grades6.12 Independent Study/Pro seminars6.13 Advising Procedures6.14 Music Education Courses6.15 Registration for Ensembles

7.0 – MUSIC LIBRARY7.1 General7.2 Reserve Policies7.3 Circulation Policies7.4 Audio Equipment Use7.5 Materials Request7.6 Library Instruction/Information Literacy

8.0 – ABSENCE/TRAVEL8.1 Absence/Sick Leave8.2 Travel/Request to Travel Form/University Vehicles

9.0 – RECRUITMENT/PROSPECTIVE STUDENTS9.1 General Procedures for Recruitment and Acceptance of Prospective Students9.1a Initial Contact9.1b Follow-up9.1c Auditions9.1d Award Offers9.1e Acceptance Status9.1f Initial Registration

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9.1g Follow-up of Probationary Students9.2 Policy for Auditioning and Accepting Incoming Students9.2a Other Auditions Issues9.3 School of Music Talent Grants, Tuition Waivers, and Scholarships

10.0 – ASSESSMENT PROCEDURES FOR UNDERGRADUATE MAJORS10.1 Faculty Responsibilities10.2 Entry Level Assessment10.3 Undergraduate Mid-Career Assessment Plan (UMCA)10.4 Exit/Graduation Level Assessment10.5 Alumni Assessment

11.0 – SCHEDULING CONCERTS AND OTHER EVENTS11.1 Scheduling/Scheduling Conflicts11.2 Scheduling Performances11.3 School of Music Calendar Scheduling Order11.4 Student Recitals11.5 Assignment of Accompanists11.6 Procedures after Scheduling a Concert or Recital11.7 Submission of Recordings to Music Library11.8 School of Music Calendar Scheduling Order

12.0 – PRE-COLLEGE MUSIC PROGRAMS12.1 Purpose12.2 Duties of Directors12.3 Operating Policy

13.0 – GRANTS13.1 Outside Sources13.2 Visiting Lecture Requests13.3 WIU Foundation Faculty Development Grants13.4 Professional Travel Grants13.5 Faculty Research Grants13.6 Summer Stipends13.7 Performing Arts Society Grants

14.0 – PROFESSIONAL STATUS14.1 Retention, Tenure, and Promotion14.2 Department Procedures14.3 Personnel Files

15.0 Musician Health and Safety

* APPENDIX I: School of Music Workload Equivalents for Teaching, Advising, and Other Duties* APPENDIX II: Summer Rotation Policy* APPENDIX III: Department Criteria for Retention, Promotion and Tenure* APPENDIX IV: Professional Achievement Award * APPENDIX V: Staff Accompanist Guidelines

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1.0 – SCHOOL OF MUSIC MISSION AND GOALS STATEMENTMISSION STATEMENT

The School of Music at Western Illinois University is committed to a dual mission within the university:

1. Helping each undergraduate and graduate music major and music minor to be the best musician he/she can be through course work, applied study, solo and ensemble performance, and a variety of listening opportunities; and

2. Serving, along with other departments in the College of Fine Arts and Communication, as a cultural center for the university, the community, and the region; including a strong commitment to providing opportunities for non-music major university students to develop awareness and understanding of music in a variety of cultural contexts.

GOALSThe primary goal of the WIU School of Music is to develop technically proficient and artistically expressive musicians at the undergraduate and graduate levels. In addition, the WIU School of Music serves to:

Train student musicians in the fine art of musical performance through applied lessons and solo and ensemble performance experiences

Help students understand the structures and contexts of music throughout history and in the present, to enhance their appreciation and performance of diverse musical styles

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Prepare graduates who possess the aural, analytical, conceptual, technological and performance skills needed to be successful in the fields of education, therapy, performance, composition, and industry, or as students in an advanced degree program

Help music students develop the tools of self-discipline, creative expression, analysis, problem-solving, and communication for success in their chosen life’s work, in or out of the field of music

Provide basic music courses and experiences to assist general university students to be articulate, responsive, and knowledgeable citizens, consumers, and patrons of the arts

Share the joy of musical expression with the general student, university, community, and regional populations through concerts and recitals

Serve as a resource center for the elementary and secondary music programs and music teachers in Illinois, the Midwest region, and nationally

Provide opportunities for pre-college music study for community/regional service and for on-campus pedagogical laboratory experience opportunities

Offer a music curriculum with sufficient depth and breadth to satisfy the needs and interests of the students enrolled

Maintain a faculty of musician-teachers who, through dedication to excellence, sound pedagogy, and effective communication skills, present models that inspire students to achieve their full potential

2.0 – ORGANIZATIONAL STRUCTURES AND FACULTY INFORMATION

2015 - 2016

2.1 – ADMINISTRATIVE STRUCTURE

Bart Shanklin – Director, School of Music Tammy Fretueg Office Administrator/Music Office Trista Trone Recruitment Coordinator Karla White Office Administrator/Ensembles Joanie Herbert Faculty Assistant /Recital Hall Manager

Duties and Responsibilities (based upon the University Faculty Policy Manual)

The Director of the School of Music, as the chief executive officer, shall be responsible for the execution of University and college policies insofar as they concern the School of Music. More specifically, he/she shall be responsible, with the counsel and advice of the faculty, either directly or through committees, for the following:

Overseeing and reviewing long-range School of Music goals and objectives.

Coordinate external reviews and accreditation (NASM, IBHE, NCATE, etc.)

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Lead periodic review and discussion of the School of Music’s mission and related goals

Highlight the School of Music’s mission and goals in all decision-making processes

Recruiting new faculty and non-academic personnel. Appoint search committees Receive recommendations from search committees Make hiring decisions in consultation with the Dean of COFAC Extend position offers and process all other hiring details

Evaluating School of Music members for retention or non-renewal of appointment.

Receive recommendations for retention for PY1-PY5 from the Music Personnel Committee (MPC)

Make written recommendations on retention for PY1-PY5 Recommending tenure and promotion.

Receive recommendations on tenure and/or promotion applications from the Music Personnel Committee (MPC)

Make written recommendations on promotion and/or tenure applications

Preparing and administering the School of Music budget. Serve as primary fiscal agent on all general School of Music

accounts (both appropriated monies and general foundation funds, including those administered by any faculty member)

Monitor the management of all student government funds as administered by ensemble area directors

Coordinate the awarding of Talent Grant/Tuition Waivers and School of Music scholarships

Prepare annual reports and budget requests (general, Talent Grant, etc.)

Approve and coordinate all equipment purchases Approve ensemble travel and monitor fiscal resources expended

(including tours and any external performances) and allocate resources for course-related student travel or field trips

Preparing schedules of courses and class assignment of School of Music faculty.

Monitor course schedule preparation each semester as well as individual faculty Assignment of Duties

Assign faculty teaching and other duties Assign classroom, studio, and rehearsal space

Supervising the development of the School of Music curriculum. Recommend/foster curriculum review, development, and revision Sit ex-officio on both Undergraduate and Graduate Studies

Committees

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Encouraging faculty members in the School of Music to improve themselves professionally through study, research, and participation in professional organizations.

Approve all faculty absence, travel, and arrangements for covering instructional and other duties

Award funds for travel/professional development activities Furnishing leadership for evaluation and improvement of

instruction and academic advisement in the School of Music. Supervise School of Music assessment activities Prepare annual assessment reports Monitor academic advisement through the School of Music

Assistant Director Appoint academic advisors

Serving as a review officer with regard to student grievances. Teaching as appropriate and all other matters, which affect the

general welfare of the School of Music. Teaching assignments in area(s) of specialization Coordination of new student auditions for entrance into the School of

Music Summer Freshman and Transfer Student Registration Coordinate efforts for School of Music outreach and marketing

initiatives with COFAC development officer Edit/update undergraduate and graduate catalog copy Edit/update School of Music handbooks for students and faculty Represent the School of Music at COFAC Chairs Meetings and all other

appropriate university venues Coordinate the School of Music Web Page in collaboration with the

College Technology Specialist Convening School of Music meetings on a regular basis, but not

less than once each semester.

Moisés Molina – Assistant to the Director of the School of Music A new position for the School of Music, duties began in January of 2006. This is a ten month position with administrative load credit of 3-7 ACES a semester, depending on teaching responsibilities.

Duties and Responsibilities Coordination of Undergraduate Advising, Registration, and

Orientation Prepare course schedule each semester Assist Director in preparing annual Assessment Reports Assist Director with special projects and committees Chair School of Music Committee for Undergraduate Studies Advise and work with director on issues relating to undergraduate

programs and curriculum

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Coordinate the ongoing training, work, and assignments of School of Music advisors

Conduct advising/information sessions during School of Music auditions

Process acceptance letters after School of Music auditions Freshman and Transfer Registration sessions New Student Orientation Recommend undergraduate course offering patterns and

scheduling Adjust undergraduate studio and ensemble registrations and

auditions

Courtney Blankenship Music BusinessJennifer Jones Music TherapyEileen Garwood Music TherapyMichael Ericson Applied Instrumental and Jazz

Studies, Bachelor of Arts/MusicLynn Thompson Applied VoiceJames Romig Applied CompositionTammie Walker Applied PianoAdrianna Marshall Music Teacher CertificationTrista Trone SOARMoises Molina SOAR and New Transfer Students

Brian Locke – Assistant to the Director for Graduate Studies/Advising Duties and Responsibilities

Advise all graduate students Advise School of Music Director on issues relating to graduate

programs and curriculum Recommend graduate course offering patterns and scheduling New Graduate Student Orientation Coordinate all thesis assignments and comprehensive

examinations Coordinate the awarding of graduate assistantships and

subsequent work assignments Chair School of Music Graduate Studies

Office and Professional Staff Office Administrator/Music Office - Tammy Fretueg

Principal responsibilities: Serve as Supervisor of the School of Music office, primary supervision for

4-6 student office assistants and secondary supervision for all School of Music student assistants;

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Coordinate the Director’s appointment calendar, schedule meetings, prepare required materials and assist the Director as assigned. Act as a liaison between the Director and faculty/staff, students and other university personnel;

Prepare documents and reports for the Director on a variety of issues relating to administrative, faculty, staff, students, and other campus departments;

Coordinate and maintain complete and accurate records of the School of Music budgets;

Supervise and maintain confidential administrative personnel files of all School of Music faculty/staff, including contract information, faculty loads, evaluations by the Director and Music Personnel Committee, supplemental pay forms, faculty absence and travel requests, tuition waiver request forms, sabbatical leave forms, and clearance forms for terminating employees;

Maintain confidential graduate student files and grade reports, prepare requests for graduate assistantship contracts, maintain budget reports for graduate assistantships, enter special permissions, and register graduate students for classes;

Act as a liaison and bargaining agent between the Director, faculty, various vendors, corporations, and other external units;

Assist Director in class scheduling changes; Draft or produce and edit curricular, promotional, and marketing

materials, using current computer applications; Assist the Director in reviewing/editing administrative documents, and

class scheduling material.

Recruitment Coordinator – Trista TronePrincipal responsibilities:

Coordinate student recruitment and retention, including updating recruitment materials, maintaining recruiting database, timely mailing of recruitment materials to prospective students, arranging campus visits for prospective students and coordinating those visits with other offices (Admissions, Honors College, Scholarship Office, Housing, etc.) while scheduling students with appropriate School of Music faculty and classroom visits, and serving as contact person for prospective students during the audition and application process;

Organize student auditions, including planning the audition dates, assignment of times for each student, audition locations, assignment of accompanists, advising sessions, coordinating the talent grant committee so that students can be heard, making adjustment to the schedule to accommodate student changes, being present on audition days to answer student and parent questions, organize special auditions for students unable to audition on scheduled days, create and maintain audition files for each prospective student, post results of the audition, placements and award recommendations in the files in preparation for Talent Grant Committee review;

Perform special projects for the Director and Dean; Coordinate the School of Music Talent Grant and Scholarship program,

including requesting TG/TW funds, act as liaison to the WIU Scholarship Office, the Financial Aid Office, and the office of the Vice President for Student Services, apply scholarship and grant/tuition waiver funds to student accounts.

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Office Administrator/Ensembles – Karla WhitePrincipal responsibilities:

Assist with interviewing, hiring, scheduling, training, assigning work, supervising, and evaluating band office student employees;

Assign and direct some of the work of two Graduate Assistants in the Band area;

Train, assign, supervise, and evaluate Summer Music Camp counselors with respect to office procedures;

Coordinate and manage all details of instrumental area special events (Marching Band Classic, Jazz Festival, District IV Illinois Music Educators Association Music Festival, etc.);

Coordinate and manage all details of Summer Music Camps with respect to office procedures;

Coordinate or assist with arrangements for ensembles performing off-campus;

Coordinate all arrangements for the Marching Band preseason camp; Maintain complete and accurate records of fiscal transactions relating

to various band accounts, and special departmental events; Maintain database file for records of prospective students interested in

band ensembles in coordination with Recruitment Coordinator, and maintain database files of public schools, colleges and universities, music teachers, band alumni, and others;

Coordinate and supervise promotional and advertising material mailings;

Maintain database files of band and jazz area music libraries; Assist in maintaining appointment calendar and providing secretarial

support for Director of Bands, Associate Director of Bands, and Director of Jazz Studies.

Instrument Technician – Chad Walker

Principal responsibilities: Supervise School of Music equipment inventory and submit property

control reports; Supervise instrument checkout and repair; Assist the Director with recommendations regarding security for, and

repair or replacement of School of Music equipment, including musical instruments, office equipment, and other items listed on the School of Music inventory

Piano Tuner/Technician – Tony Lang

Principal responsibilities: Prepare concert pianos for regular performances of guest artists,

faculty artists, and other public performances; Repair, regulate, tune, and maintain all acoustic pianos in the

classrooms, studios, and practice rooms of the School of Music on a schedule to be established with the secretary to the director; and when needed, consult with the director;

Request tools, equipment, and supplies as required to perform these duties, assist in the inventory of these items, and supervise the storage and distribution of these materials for needed repairs;

Supervise student assistants, when needed, to maintain the climate control units on the pianos;

Make recommendations for long-term maintenance needs, strategies, and instrument replacements.

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Faculty Assistant/Recital Hall Manager – Joanie Herbert

Principal responsibilities: Manage all details relating to the School of Music Performance

Calendar, including:1. Coordinate scheduling, oversee stage management, and

supervise the production of programs for all on-campus performances;

2. Coordinate the moving of instruments, chairs, stands, and other equipment needed for each performance;

3. Coordinate the necessary instrument tunings/preparation;4. Coordinate/verify that a recording crew is assigned for each

performance; 5. Coordinate requests for copies of recital recordings;6. Communicate the calendar to all external constituencies,

including needed updates;7. Supervise student organizations, student workers, and graduate

assistants assigned to work as aides in program publication, stage management, and public relations.

8. Record Recital attendance. Manage the external and internal publicity for all performance events

and other School of Music events or issues which merit such attention, including production of all press releases for School of Music activities, including updates on changes/cancellations, and assisting School of Music faculty and the Director as needed in all events which require special physical arrangements, scheduling, or publicity.

Staff Accompanist/Coordinator of Accompanying – Minjung Seo

Principal responsibilities: Coordinate the accompanying services of the School of Music, which

includes one other full-time accompanist and a part-time accompanist; Accompany various student and faculty performances.

Staff Accompanist – Po-Chuan Chiang

Principal responsibilities: Accompany various student and faculty performances.

Staff Accompanist – Liang yu Wang

Principal responsibilities: Accompany various student and faculty performances.

2.2 – ACADEMIC AREA/PROGRAM COORDINATORS

James Caldwell Theory/Composition Brian Locke Humanities/History Tammie Walker Keyboard Richard Hughey Strings Terry Chasteen Voice/Choral Bruce Briney Winds/Percussion Courtney Blankenship Music Business

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Christine Lapka Music Education Jennifer Jones Music Therapy John Cooper Jazz Studies

Duties and ResponsibilitiesGeneral Coordinate area meetings and communication Coordinate area proposals/requests/equipment needs/equipment

repairs Represent the area/program on the Music Advisory Council and

represent (or recommend an area/program representative) the area/program on the Undergraduate Studies Committee

Serve as a liaison between the area/program and the rest of the School of Music

Coordinate any necessary written correspondence with students which comes from the area/program

Coordinate assessment activities appropriate to each area/program Coordinate recruitment in collaboration with School of Music

Recruitment Coordinator and Music facultyApplied Areas Coordinate studio assignments where appropriate Coordinate the scheduling of studio seminars and semester end juries Coordinate the selection of candidates for special scholarships/awards

as appropriate to the area Coordinate and seek approval from the Director of the School of Music

for student travel to external performance venues/competitions/festivals

Coordinate master classes/performances of visiting artists Coordinate area specific recruitment efforts with the appropriate

ensemble area director(s)Academic Areas Coordinate the administration of general examinations (such as theory

entrance, graduate entrance examinations, masters comprehensive exams)

Coordinate textbook adoption for multiple sections of the same courses within the area

Coordinate and mediate the approaches taken in various sections of the same course (within the area), the coverage of each course, and the integration of the courses into a coherent sequence

Advise the School of Music Director on staffing issues within the areaProfessional Programs Coordinate student teaching assignments or internships Coordinate program specific advising of students and related curricular

issues

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2.3 – DIRECTORS OF ENSEMBLE AREAS

Richard Hughey Director of OrchestrasMichael Fansler Director of BandsMatthew ThomasAssociate Director of Bands

John Cooper Jazz StudiesMichael Stryker Associate Director of Jazz Studies

James Stegall Director of Choirs Duties and Responsibilities

Jointly coordinate the work of the secretary for university ensembles

Coordinate special events within area of specialization(Examples: Band Showcase, ACDA festivals, Jazz Festival, etc.)

Coordinate publicity for university ensemble events with the Performance/Public Relations Manager.

Coordinate tours/off-campus performances of ensembles within the area of specialization

o Ensure that Director approval for travel has been processedo Monitor the number, frequency, length, and quality of tours/off-campus

performances Serve as fiscal agent on all student government accounts related to

area of specializationo Keep detailed records of receipts and expenditures and provide yearly

report of account activity to the Director (prior year due each year on Sept. 1)

o Write yearly requests for continued/increased student government funding (copy to Director)

Assist with School of Music public outreacho Discover Western presentations and exhibits at state, regional, and

national professional meetings Advice regarding allocation of talent grant/scholarship resources

o Serve as members of the School of Music Talent Grant/Scholarship committee

o Monitor the appropriate ensemble participation of TG/TW recipients and provide feedback on performance

Supervise graduate assistants and student workers assigned to each ensemble area

Supervise ensemble libraries within the area of specialization2.4 – SCHOOL OF MUSIC COMMITTEES –

Music Advisory CouncilBart Shanklin, Director

Moisés Molina, Asst. Director/Undergraduate Studiess Brian Locke, Graduate Studies

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Anita Hardeman, History and Humanities

Courtney Blankenship, Music Business Christine Lapka, Music Education Jennifer Jones, Music Therapy Tammie Walker, Keyboard Area (Jeff

Brown F14) Terry Chasteen, Voice/Choral Area Bruce Briney, Winds/Percussion Area James Caldwell, Theory/Composition Michael Fansler, Ensembles John Cooper, Jazz Studies

Graduate Studies Brian Locke, Chair Matt Bean Richard Cangro John Cooper Michael Fansler Eric Ginsberg Grad Studies (Continued) Paul Paccione James Stegall Tammie Walker Richard Hughey Bart Shanklin (Ex-Officio)

Undergraduate StudiesMoisés Molina, (Chair) Courtney BlankenshipJeff BrownTerry ChasteenAnita HardemanJennifer JonesChristine LapkaJames RomigBart Shanklin (Ex-Officio)

Music Personnel CommitteeJeff Brown, ChairBruce BrineyJames CaldwellMichael EricsonMichael FanslerEric GinsbergPaul Paccione

Music Education CommitteeChristine Lapka, ChairRichard CangroMichael FanslerAdrianna MarshallMoisés Molina

(cont. recruitment/retention)Terry SolomonsonJames StegallMatthew Thomas

Faculty Performance Michael Stryker, ConvenerRandall FaustEric GinsbergRick KuraszJohn McMurteryPenny Shumate

Grade Appeals/Academic Integrity

Matt Bean, ConvenerEileen GarwoodMary Kay KarnIstvan SzaboJohn VanaTwo students TBA

Auditions/Talent GrantBart Shanklin, Convener (Ex-Officio)John Cooper, Jazz EnsemblesMichael Fansler, Band EnsemblesRichard Hughey, String EnsemblesPenny Shumate, Voice/OperaTrista Trone, CoordinatorMoisés Molina, StringsJames Stegall, Choral EnsemblesTammie Walker, Keyboard

AccompanyingTwo students TBA

ConvocationKevin Nichols, ConvenerMary Kay KarnJohn MindemanJames RomigMichael StrykerIstvan SzaboJohn VanaJulieta Mihai

Recruitment/Retention CommitteeBart Shanklin, ConvenerCourtney BlankenshipBruce BrineyJohn Cooper

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Michael FanslerRandall FaustRichard HugheyRick KuraszMoisés MolinaTrista TroneJames Stegall

2.5 – FACULTY STATUS –

Tenured Faculty (31) Non-Tenured Faculty (7)

Dr. Matt Bean Probationary Year (PY)Dr. Bruce Briney Dr. Matthew Thomas 6Dr. Jeff Brown Dr. Anita Hardeman 4Dr. James Caldwell Dr. John McMurtery 4Dr. Richard Cangro Ms. Courtney Blankenship 3Mr. Terry Chasteen Dr. Adrianna Marshall 3Dr. John Cooper Dr. Eileen Garwood 2Mr. Michael Ericson Dr. Penny Shumate 2Dr. Michael FanslerDr. Randall FaustMr. Eric Ginsberg Instructors/Lecturers

(3)Dr. Douglas Huff Dr. Angela Hand Instructor (Voice)Dr. Richard Hughey Mr. Matt Hughes Instructor (Double Bass)Dr. Jennifer Jones Mr. George Turner Lecturer (Guitar)Ms. Mary Kay Karn Mr. Jonathan Saeger Instructor (Choir)Dr. Richard KuraszDr. Christine LapkaDr. Brian LockeDr. Julieta MihaiMr. John MindemanDr. Moises MolinaDr. Kevin NicholsDr. Paul PaccioneDr. James RomigDr. Bart ShanklinDr. Terry SolomonsonDr. James StegallDr. Michael StrykerDr. Istvan SzaboMr. Lynn ThompsonMr. John VanaDr. Tammie Walker

2.6 - Faculty Rank

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2.7 – STUDENT ACTIVITIES

Student Advisory CouncilGraduate RepresentativeIllinois Collegiate Music Educators Association President – Allison SmithMu Phi Epsilon President – Caitlin PenningtonMusic Business Association President – Darcy SmithMusic and Miracles President – Caitlin PenningtonPhi Mu Alpha President – Brian DrewsMTNA Student Chapter President – Amy BroadbentSchool of Music Director (ex-officio)

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Rank Yr. Granted

Rank Year Grante

dProfessor (17) Associate Professor

(13)Michael Ericson 1989 Richard Cangro 2014Paul Paccione 1993 Terry Chasteen 2006James Caldwell 1995 John Mindeman 2007James Stegall 1997 Terry Solomonson 2007Randall Faust 1997 Kevin Nichols 2007Bruce Briney 2002 Jennifer Jones 2010Bart Shanklin 2005 Lynn Thompson 2010Matt Bean 2006 Mary Kay Karn 2010Eric Ginsberg 2006 Julieta Mihai 2010John Vana 2007 Richard Hughey 2011Douglas Huff 2007 Brian Locke 2011John Cooper 2008 Michael Stryker 2011Tammie Walker 2008 Istvan Szabo 2011Christine Lapka 2009 Jeff Brown 2013Moises Molina 2009Mike Fansler 2012James Romig 2012Richard Kurasz 2013

Assistant Professor (9)Matthew Thomas 2010Anita Hardeman 2012John McMurtery 2012Courtney Blankenship 2013Adrianna Marshall 2013Eileen Garwood 2014Penny Shumate 2014

Lecturer/ Instructor (3)Angela Hand 2011Matthew Hughes 2011George Turner 2011

Faculty Assistants (4)Joanie Herbert 2010Minjung Seo 2011Liang-yu Wang 2013Po-Chuan Chiang 2015

Student Organization AdvisorsAmerican String Teachers Association – Moises Molina /Rich CangroAmerican Choral Directors Association – James StegallIllinois Collegiate Music Educators Association - Richard CangroMu Phi Epsilon – Angela Hand/Mary Kay KarnMusic & Miracles – Jennifer JonesMusic Business Association – Courtney BlankenshipPhi Mu Alpha Sinfonia – Terry SolomonsonMusic Teachers Association Collegiate Chapter – Tammie Walker

2.8 – GRADUATE ASSISTANTS: 2015 - 2016 AssignmentsLast Name First Name Major TSA (*TA) Major InstAnthony Marius Composition History/Humanities PianoBroadbent Amy Piano Pedagogy Class Piano PianoDossett Keith Inst Conducting Bands TrumpetGibb Clark Andrew Choral Cond Choral CondHerrenbruck Katie IDT Bands/Dance Line HornJang Hyun Jin Piano Perf Class Piano PianoJarosz Klaudia Mus Ed Orchestra CelloJohnson Mikaela Choral Cond Choral FluteKalina Brian Piano Ped Accomp for Mus Theatre PianoLee Dayoung Piano Perf Accomp PianoMiller Charles Jazz Perf Jazz area TrumpetMcChord Byron Jazz Perf Jazz Worship Service PianoMcNeil Ryan Composition Asst outside of SOM Voice/PianoOverton Lucas Choral Cond Choral CondRacanati Alberto Inst Perf LBQ TrumpetSoberano Ramon Alfonso Inst Perf JSQ ViolinStombres Adam Comp Theory SaxophoneWeber Colin Inst Cond Bands SaxophoneZhou Ziyu Piano Perf Accompanying Piano

2.9 – Recital Hall Jury Examination Rotation

Fall Semester 2015 Spring Semester 2016Monday – Strings Monday - BrassTuesday – Woodwinds Tuesday - VoiceWednesday – Piano Wednesday – Piano

Fall Semester 2016 Spring Semester 2017Monday – Piano Monday – VoiceTuesday – Strings Tuesday – VoiceWednesday – Piano Wednesday – Piano

Fall Semester 2017 Spring Semester 2018Monday – Voice Monday - WoodwindsTuesday – Voice Tuesday - Strings

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Wednesday – Piano Wednesday – Piano

2.10 – COMMENCEMENT PROCESSION ROTATION

Dec 2015 May 2016Michael Fansler – Wind Ensemble

Richard Hughey – Symphony Orchestra

Julieta Mihai Michael EricsonDoug Huff Richard CangroLynn Thompson John VanaPaul Paccione Kevin NicholsJohn McMurtery Jeff BrownEric Ginsberg Anita HardemanCourtney Blankenship Penny ShumateBruce Briney John Mindeman

Dec 2016 May 2017Matt Thomas – Concert Band Michael Fansler – Wind EnsembleMichael Stryker Terry ChasteenKitty Karn John CooperJennifer Jones Randall FaustJames Caldwell Eileen GarwoodIstvan Szabo Rick KuraszMatt Bean Chris LapkaJames Romig Terry Solomonson

Tammie Walker

2.11 – SUMMER TEACHING ROTATIONName Last

AssignmentPaccione New 1984Caldwell New 1985Ericson New 1986Vana New 1989Solomonson New 1989Stegall New 1989Briney New 1993Ginsberg New 1996L Thompson New 1996Faust New 1997Huff New 1998Lapka New 1998Nichols New 1998Walker New 1998Molina New 1999Bean New 2000Blankenship New 2000Chasteen New 2000Mindeman New 2000Fansler New 2001

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Cooper New 2002Kurasz New 2002Romig New 2002Mihai New 2004Karn New 2004Stryker New 2005Szabo New 2005Jones New 2006Locke New 2006Hughey New 2007Cangro New 2008Brown New 2009Thomas New 2010Hand New 2011Hughes New 2011Turner New 2011Hardeman New 2012Marshall New 2012McMurtery New 2012Garwood New 2014Shumate New 2014Saeger New 2015Solomonson 2010Caldwell 2011Stegall 2011Stryker 2011Thompson 2012Brown 2013Nichols 2013Paccione 2013Blankenship 2015Cangro 2015Cooper 2015J.D. Jones 2015Lapka 2015Locke 2015Marshall 2015

Faculty interested in summer teaching assignment must inform the Director, in writing,

in accordance with the schedule distributed by the Provost.

3.0 – COMMUNICATION

3.1 – AGENDA AND MINUTES OF FACULTY MEETINGS AND SCHOOL OF MUSIC COMMITTEES

Agenda and minutes of regular Music Faculty meetings as well as minutes of faculty committees will be sent electronically. Each faculty committee should select a member to submit minutes outlining topics of discussion and/or actions and decisions of the committee to the Director for distribution.

3.2 – PERFORMANCE CALENDAR UPDATES

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Periodic updates to the School of Music performance calendar are distributed by Joanie Herbert. Please contact her for any questions regarding this calendar.

3.3 – CAMPUS CONNECTION

This University-wide newsletter is published the first and third Friday during fall and spring semesters (with the exception of the first month of each semester) and approximately two times during the summer. A hard copy can be found in the Music Office mail room. We should be consistent in letting the WIU community know about the many activities and honors of our School of Music. Deadline for submitting information to University Relations, Sherman Hall 302, is 10:00 A.M. on Tuesday for the following Friday issue.

3.4 –CONCERT PUBLICITY

Joanie Herbert coordinates press releases and updates for all School of Music calendar events.

3.5 – POSITION ANNOUNCEMENTS

Notices of vacancy that are received in the music office are placed immediately into the notebook/binder found in the upper right faculty cabinet in the front office. Information regarding Graduate Professional Auditions, Graduate Assistantships, and Summer Study Opportunities is also located there. If you have students that you know are looking, suggest they check these notebooks from time to time.

4.0 – MECHANICS

4.1 – KEYS

Faculty and Graduate Assistants are issued keys for rooms for which they have frequent access needs. It is imperative to lock all studios, rehearsal halls, and classrooms when you leave.

The ramp door to Browne 129 should be unlocked ONLY for the purposes of moving equipment for scheduled School of Music activities. Extreme care must be used when using the street side doors to 129 and 130 for loading. These doors must never be left unlocked.

All classroom stereo systems are locked with a combination padlock. If you need to use the system in a particular room, Tammy Fretueg for the combination. Please do not reveal this combination indiscriminately. Every effort has been made to provide good quality, functioning systems in all classrooms, but each user must be security conscious. Please report any malfunctions to Terry Solomonson immediately.

4.2 – UNIVERSITY MAIL

Mail is picked up at approximately 11:30 a.m. Mail is also received at the same time and is distributed to faculty mailboxes located in Browne 122A, beside the Music Office, Browne 122. All mail to be sent off campus must be in pre-printed envelopes having the return address label/WIU logo; or you must use pre-printed labels with the return address/WIU logo included, provided by the School of Music. Hand-written return address information will not be accepted, and the envelopes will be returned to the School of Music by Document and Publication Services (DPS) at Physical Plant.

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Please use multiple-use brown envelopes for on-campus mail. The outgoing mailbag is located near the faculty mailboxes. The School of Music is billed for every piece of mail, so please do not use the School of Music mail code for personal purposes. Document and Publication Services (DPS), Physical Plant, will accept stamped personal mail.

4.3 – TELEPHONE USAGE

Each faculty is assigned an authorization code number to be used for professional business or recruitment-related long distance calls only. LONG DISTANCE calls are billed to the School of Music budget at a charge of 25 cents per minute. We ask that you keep the length and number of those calls to a minimum. Long distance, personal calls on your authorization code from your office phone are prohibited by University policy and state law. You will need to place those calls collect or use a personal calling card. Please adhere to the policies in place, in order to avoid possible cancellation of your authorization code number. Any phone calls over 10 minutes in length require justification to the School of Music Director. The Music Office has a Fax machine for sending and receiving mail. The FAX number is 309-298-1968. Please do not send long distance faxes for personal use. International calls require pre-approval by the School of Music Director.

4.4 – OFFICE SUPPLIES

Office Supplies are located in the black storage cabinet in the Music office. Office supplies are only available for approved official School of Music purposes.

4.5 – FACULTY SCHEDULE FORMS

Blank copies of the Faculty schedule forms are available in the front Music Office and will be emailed to you electronically at the beginning of the semester. Please fill this out and copy it as soon as your schedule is determined, furnishing Tammy Fretueg with one copy and posting the other on your office/studio door. The Office Staff field many calls and it is essential that they know your office hours, when you are in class, and when not to disturb a lesson by transferring calls to your studio. Students must also be able to see your posted office hours so they will know when you will be available for appointments. The UPI 2010 -2015 Agreement requires faculty schedules to be posted (please see 18.15, p. 36 of the Agreement).

4.6 – BUDGET REQUESTS

Faculty may submit budget requests for recruitment travel reimbursement. Forms for such requests are located in the mail room, bottom drawers of cabinet. All such requests should be submitted to Tammy Fretueg. In order to facilitate the processing of your request, please provide all information as requested on the particular form. Requests with missing information will be returned for revision. For further information on Travel Requests, see 8.0. Even if a budget request cannot be filled immediately, your requests will be kept on file for reviewing at the end of the fiscal year, at which time we may receive funding beyond our allocated School of Music budget, and be able to process the request.

4.7 – REQUESTING COPYING AND SUPPORT STAFF SERVICES

Photocopying: The photocopy machines in the office are for official School of Music use by faculty and staff. Personal photocopying is not allowed. Copies are to be

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made by faculty only. There are other copy machines available to students at various locations around campus.

Forms are provided for faculty requesting copying of materials and are available in the front office. Please be specific about number of copies, when they are needed, and to whom they should be returned. Whenever possible, ask that copies of multi-page documents be copied back-to-back for paper conservation. DUPLICATION OF COPYRIGHTED MATERIAL IS STRICTLY FORBIDDEN!

Forms requesting other support staff services are available in the Music office faculty work area. Assistance will be provided to faculty members according to available time of the office staff. Maximum advance notice will help everyone achieve efficiency and maximum results. The office staff reserves the right to refuse illegible copy and to refuse requests that do not follow the Civil Service guidelines.

4.8 – FACULTY COMPUTERS

Computers are available in all faculty offices, and printers are located in some of them. Each office has full network connections for the Local Area Network and Internet.

4.9 – THE FRONT OFFICE AREA

There is a copier, paper supplies, and a fax machine in the front Music Office. Please lend your assistance in keeping this area neat and orderly. The copy machine is open for faculty use. You are personally responsible to observe all Copyright Laws. See Tammy Fretueg to secure your access code number. Do not share your access code with students. Students are not allowed to use the copy machines. Please do not copy personal documents.

4.10 – INVENTORY

The School of Music has an inventory of equipment in excess of $1,000,000. There is no insurance for loss through damage or theft and every effort must be made to take very good care of the existing equipment. We cannot simply discard anything on the official inventory. If a piece of equipment is no longer functional or needed, please report this to Chad Walker. If you move any equipment to a different location, please notify Chad. If stereo/sound equipment is no longer functional, please report this to Terry Solomonson. Report immediately anything that has apparently been stolen!

5.0 – POLICIES AND PROCEDURES

5.1 – CLASSROOM AND REHEARSAL HALL USE AND RESERVATION

Classroom schedules are maintained electronically through Zimbra Calendars. If you wish to schedule a classroom, please check the calendars to see the room you want to reserve is available. If it is available, send an email request to Karla White or Tammy Fretueg to reserve the room on Zimbra calendars (all requests to use the recital hall should go through Joanie Herbert). Do not assume that you can use any room that happens to be vacant at the moment.

The COFAC Dean’s Conference room, Browne 112, is also available for seminars and meetings. To schedule this room, please contact Louise Reynolds in the Dean’s Office, 298-1618.

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If a student or student group needs a classroom for practice or a meeting during non-class hours, they must request this by email to Tammy Fretueg to secure a permit to have the room unlocked by the custodian or Public Safety. This must be done two to three days in advance, since requests are processed through the Academic Scheduling Office. When a room is used, return it to the set-up in which you found it, or feel free to improve upon that state. No food or drink is allowed in classrooms, practice rooms, or the recital hall. Candles are also prohibited.

5.2 – GRADUATE ASSISTANTS

The responsibility for selecting graduate assistants and assigning their duties rests with the Graduate Studies Committee. Each spring, the committee reviews needs of the School of Music and applicants for the positions available.

A full graduate assistantship involves twenty hours per week of obligated time to the School of Music. The time required for partial assistantships is pro-rated accordingly. A 2/3 assistantship involves 13 hours per week. A job description for the work of each graduate assistantship should be on file with the Graduate Studies Chair. It is the responsibility of the individual supervising faculty member to insure that the graduate assistant is fulfilling the obligations of his/her time and specific assignments, and that the student’s time is not abused through excessive assignment. Any questions relating to the supervision and/or assignment of graduate assistants should be referred to Dr. Brian Locke.

5.3 – STUDENT HELP

The Director allocates student help budgets based on requests from faculty and departmental needs and priorities. Student workers are secured and hired by the faculty member who is responsible for supervision over his/her area. Every effort should be made to secure students who are eligible for Federal Work Study funds, so that our limited Student Help budget can be stretched as far as possible. Tammy Fretueg coordinates the student worker applications/paperwork in the School of Music and can keep appropriate faculty apprised of applicants. She maintains a file on each student worker, authorizes them online, keeps budget records, and oversees the completion of timecards.

The direct supervisors of the areas, or their designee, should handle all records and timecard reporting for their particular area. Music Front Office student assistants are supervised by Tammy Fretueg. If you have a student assistant in your area, please make sure he/she keeps a daily log sheet and records the exact times worked; it should be kept on file as proof of actual check-in/check-out times. Student Assistants are required to go online in MVS and enter their hours electronically by the end of each pay period. The supervisor then confirms the timecard online. Students are urged to sign up for electronic deposit of their paychecks.

5.4 - RECITAL/CONCERT ATTENDANCE REQUIREMENT

All full time undergraduate music majors are automatically registered for MUSIC 100: RECITAL ATTENDANCE for 0 semester hours credit every semester. Attendance at a minimum of 10 recitals per semester is required of each full-time music student. Recital attendance credit is given for attendance at the following: 1) a minimum of 5 recitals which are either Faculty or Guest Recitals or Faculty Chamber Series Concerts; 2) any 5 student concerts in the School of Music calendar except performances in which the student participates as either performer, stage crew, tonemiester or

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usher. There will be no exceptions. Convocation attendance and performances external to the university will not count toward the required 10 recitals.

If a student attends a minimum of 10 recitals/concerts each semester, as specified above, he or she will receive a grade of “S” (Satisfactory) in Music 100. If not, they will receive a grade of “U” (Unsatisfactory). This grade will appear on the official transcript. All students must receive an “S” every semester (minus one) that they are a full-time on-campus student, in order to receive departmental approval for graduation. For example: A student that is on campus 8 semesters must have 7 semesters of “S”, a student that is on campus 4 semesters must have 3 semesters of “S”.

Recital Attendance is tracked using BioMetric facial scanning technology. The scanner is located inside the COFAC Recital Hall, on the east (house left) wall, behind the last row of seats.

In order for attendance at a recital to be tracked and counted, ALL students enrolled in MUS100 must go see Joanie Herbert in the Recital Hall for the scanning/registering process, which takes about 1 minute to complete.  New freshman and transfer students who attend the new music major meeting at the beginning of the fall semester are scanned at that meeting. Once a student is scanned, he/she will only need to scan their face at the beginning and end of each performance attended.  Specific instructions are posted above

the scanner.

For students who do not attend the New Music Major meeting, Joanie Herbert in the Recital Hall will send an email during the first two or three weeks of each semester with specific days and times during office hours for students to be scanned.

Recital attendance is recorded on Western Online by the date and type (faculty or student) of

the performance. Students are encouraged to check Western Online often for the accuracy of recital attendance.

5.5 – TALENT GRANT/TUITION WAIVERS

The Student Handbook and the prospective student packets include information concerning Talent Grants and Tuition Waivers. ALL matters concerning talent grants and tuition waivers, including the assignment and/or dropping of students from their TG/TW responsibilities, are to be handled by the Auditions/Talent Grant Committee. A copy of the contract that all TG/TW recipients sign may be obtained from Trista Trone in Browne 121A.

5.6 – INSTRUMENT CHECKOUT AND LOAN

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The instruments, located in Simpkins 003, are under the supervision of Chad Walker, Instrument Technician III. A graduate assistant also is assigned to assist with instrument checkout. Hours of operation are posted in Browne Lobby and on the door of Simpkins 003. Please note the checkout hours and plan accordingly.

Please use the SPECIAL PERMISSION FORMS to assign instruments labeled “SPECIAL PERMISSION REQUIRED.” Faculty members make assignments, sign the form, and the student takes the form to the instrument room, fills out the proper materials and an instrument is issued. All instruments are to be returned at the end of each semester. New paperwork must be initiated at that time for the following semester or summer. At no time will a SPECIAL PERMISSION INSTRUMENT be checked out without faculty signature.

Technique class instruments and all other non-special permission instruments will be handled by the instrumental checkout staff in Simpkins 003 during regular posted times.

6.0 – TEACHING ASSIGNMENTS

6.1a – FACULTY LOADS

The School of Music Director assigns faculty loads, with the opportunity for consultation for each individual faculty member. A full-time load must be between 18-22 ACES per 9-month term. Guidelines for ACE assignment are distributed by the Provost’s Office. See Appendix I. Faculty can receive overload pay for assignments in excess of 22 ACES, subject to the availability of funds.

Assignment of summer teaching follows the approved School of Music Summer Rotation Statement. (See Appendix II) Faculty interested in summer teaching assignment must notify the Director, in writing, before the date indicated on the Personnel Schedule distributed each fall by the Provost.

6.1b – COURSE ROSTERS, TENTH DAY OF CLASSES, AND FACULTY LOADS

Faculty loads for each semester will be calculated through audits of the enrollments that appear in the university records immediately after the tenth class day of each semester. Prior to this time, each faculty member should check all rosters for applied lessons, ensembles, and classroom courses very carefully and notify the Director of any discrepancies. Up to date course rosters are available at any time on the university computer network so please make a point to check their accuracy before the tenth day of classes. Please contact School of Music advisors, the Director, or Trista Trone for current information. Any faculty member who wishes to be able to view class rosters or student identification information on the network (on an ongoing basis) should so notify the Director to be granted clearance.

6.2 – OFFICE HOURS

Each faculty member must maintain a schedule of a minimum of four office hours per calendar week spread over at least three days OR a schedule of at least five office hours per calendar week spread over at least two days. Office hours must be

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posted and should be scheduled during different class hours each day for maximum student access. Please submit a copy of your class schedule, lessons, rehearsals, and office hours to Susan McCombs by the 10th day of class each semester.

6.3 – ENSEMBLE PARTICIPATION OF APPLIED STUDENTS

In order to maintain NASM accreditation, all students registered for applied study must also be registered for ensemble experience. (Keyboard students who do not qualify for participation in instrumental or choral ensembles are assigned chamber and/or accompanying experience under Mus 140). Each applied teacher is responsible for monitoring the ensemble participation of the students in that studio.

6.4 – ORDERING TEXTS

Textbook order blanks are electronically transmitted directly to the Union Bookstore. The bookstore will send instructions and password information via campus mail each semester. Orders must be received by the bookstore on a timely basis to insure that books and other materials are in stock at the beginning of each semester. Please keep in mind that you must supply book order information directly to the bookstore every semester, even if your class never requires a textbook. Additional materials, such as duplication of handouts, are handled by DPS. Submissions of these materials prior to the end of the previous semester will guarantee timely processing. These materials will be stocked at the Union Bookstore along with the textbooks required for the classes. No fees should be collected for materials duplicated in the School of Music unless prior approval is granted by the Provost’s Office.

6.5 – SYLLABI

As part of each faculty member’s professional obligation, course syllabi must be prepared and distributed to students, with an electronic copy also submitted to the School of Music Director, by the end of the full refund/credit period (the tenth day of classes). The syllabi submitted to the Director will be included in an office file as well as a Music Library file available to all students and faculty. The Director’s syllabus file is open to anyone who wishes to study, copy, or use as a guide, one or several syllabi. During NASM re-accreditation, several years of faculty syllabi must be made available to the Visiting Evaluation Committee.

The university policy on course syllabi approved by the Faculty Senate outlines current practice and requirements.

UNIVERSITY POLICY MANUAL

File Code: PRO.SYLLABUS.POLApproval Date: 9/25/03Approved By: President and Faculty Senate

Course Syllabus Policy

Education works best when a clear understanding is established between instructor and student.

Since students need to know what is required of them in order to complete a course satisfactorily, instructors will provide each student with a course syllabus. Items suggested for Inclusion in the syllabus include the following:

1. Title of the course, course number, section number, meeting days and times, nature

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and/or purpose of the course. General Education “W” and WID courses will be so identified.

2. Pre-requisites and co-requisites (Note: It is the responsibility of the student to comply with the prerequisites/co-requisites for a course that he/she plans to take. Instructors who place the appropriate information on the syllabus and emphasize it during the first three class periods may exclude a student from the class who does not meet the prerequisites/co-requisites by sending a note to the student with a copy to the registrar within the first two weeks of the term.)

3. “In accordance with University policy and the Americans with Disabilities Act (ADA), academic accommodations may be made for any student who notifies the instructor of the need for an accommodation. It is imperative that you take the initiative to bring such needs to the instructor’s attention, as he/she is not legally permitted to inquire about such particular needs of students. Students who may require special assistance in emergency evacuations (i.e. fire, tornado, etc.) should contact the instructor as to the most appropriate procedures to follow in such an emergency. Contact Disability Support Services at 298-2512 for additional services.”

4. Instructor’s name, office number, office hours, office phone number, FAX number, e-mail address, personal web address (personal home page).

5. Books and/or materials required. 6. A goals/objectives statement (What is the purpose of the course? What is the

professor going to try to accomplish?)7. A statement indicating how the student’s final grade will be determined,

including any minimum requirements.8. Types of examinations that could be given (essay, objective, short answer,

quizzes, etc.), if any.9. Tentative dates for exams, tests, and a breakdown of the materials to be

covered in relation to those dates.10. Outside work required (readings, web searches, field experiences, trips, etc.), if any.11. Additional fees or costs to be incurred by the student, if any.12. Nature of papers or reports required, if any, and when they are due.13. Attendance requirements and penalties, if any.14. Web address for student rights and responsibilities (use URL found on

University Student Rights and Responsibilities web page.)

Course syllabi should be distributed at the first class meeting but must be distributed no later than the end of the full refund/credit period. It is student’s responsibility to obtain the syllabus after this time.

Failure to provide adequate written information about course requirements may provide the student with sufficient grounds to appeal to the Council on Admission, Graduate and Academic Standards for a late withdrawal. Questions concerning the interpretation of this policy will be resolved by the Council.

6.6 – CLASS ROSTERS

Class rosters are available online at  http://www.wiu.edu/registrar/lists.php. Final class rosters are not received until the tenth day of classes. Check each edition of class rosters carefully to ascertain that all students attending are enrolled and vice versa. Please consult Moisés Molina if your class rosters include students that are not attending or do not include students that are attending. Any discrepancies should be reported as soon as you have checked your final “official” rosters. Do not assume that they will automatically be corrected. Your final grade sheet will be identical to your final class roster unless you report discrepancies. At that point it is too late to make appropriate adjustments.

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Check applied rosters for the number of hours of credit to be sure all students are properly enrolled:

Performance majors: 4 SH Mus Ed, Theory-Comp, Pedagogy Principals: 2 SH Music Therapy, Music Business Principals: 2 SH Secondary Applied Students (music majors taking a secondary lesson): 1 SH Music Minors (entitled to two semesters of study): 1 SH Non-major/minor Talent Grant Recipients (when load time available): 1 or 2 SH

6.7 – EARLY WARNING NOTICE

In an effort to improve retention of students, the university has followed a practice of giving an early warning to the students and advisors of all majors showing attendance or academic problems. This will be called for with a notice from the office. Please share your concerns about a student with the student’s advisor at any time throughout the term. Applied teachers are encouraged to discuss present work and future plans with applied majors and principals periodically.

6.8 – EXAMINATIONS

Mid-term exams should be given on or about the 8th week of the semester during regular class hours. Final exams are given according to a special schedule shown in that semester’s registration booklet. Exceptions to this rule must have prior approval of the School of Music Director.

6.9 – JURY EXAMINATIONS

All students registered for applied study for 2-4 SH credit are expected to perform a jury examination each semester before three or more faculty members. Juries are scheduled by the area coordinators and held during final examination week. Students should be afforded the courtesy of receiving advance notice of expectations, and follow-up consultations. Copies of jury comment sheets must be furnished to Tammy Fretueg every semester for placement in the student’s permanent files.

6.10 – STUDENT EVALUATIONS OF TEACHER AND COURSE

Faculty, regardless of status, must submit student course evaluations for all courses taught fall and spring semesters; submission of evaluations for summer and inter-session courses is optional. (2010 -2015 Agreement 20.11.f) Please refer to Appendix III for additional information.

Due to the diverse nature of the kinds of teaching in the School of Music, no single evaluation instrument is adequate. Faculty may choose to use the School of Music instrument appropriate for the course (applied study, ensemble, classroom course) or the Purdue cafeteria system, which enables faculty to choose questions reflective of the individual course. See Tammy Fretueg for the forms and further information. After calculation, you will receive one copy of the results, and a second copy is kept on file in the Music Office.

6.11 – GRADES

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Grade books for keeping records of student attendance and grades are provided upon request. Careful records and retention of grade books for at least five years will prove necessary to you in the event of a grade appeal. Electronic grade book software is available on the Local Area Network. Final grades are reported online using the GRRP screen on WIUP.

Forms for reporting a change of grade are available in the Music Office faculty cabinet. These are used when an error in calculation of grade is discovered or when changing an “incomplete” to a grade. Faculty are urged to give “incompletes” sparingly and to have strong justification for doing so. Failure of a student to complete course assignments is not normally justification for giving an incomplete unless the reasons were beyond the control of the student. Please note the section on Grade Appeals in the Student Handbook.

Study has shown that grade appeals most frequently stem from the following problems:

Vague course assignments and/or due dates Changes of due dates without sufficient notice to students Addition of major assignments not listed in the syllabus No explanation either in syllabus or in class regarding the weighting of

particular grades or the system for determination of final grades, and/or end-of-semester changes in the previously announced system

No clear outline of course or course objectives distributed to students Subjective grading of exams and/or determination of final grades Lack of regular feedback to the students throughout the semester

6.12 – INDEPENDENT STUDY/PRO-SEMINARS

Independent study is available for special study projects by individual students, and pro-seminars in selected topics are offered occasionally to small groups of students. Either offering must cover a topic or subject that is not a normal curricular offering and receive approval of the Director BEFORE the student registers. Independent Study application forms are available in the Music Office.

When a student or advisor approaches you about supervising an independent study, first ask the student to fill out an application form to be submitted to you for signature. Then, submit the form to the Director for approval. A copy of the form indicating approval or non-approval will be returned to you.

6.13 – ADVISING PROCEDURES

Several faculty members share student academic advising as an assigned duty with all music faculty invited to counsel and discuss progress and career plans with any student at any time. Any questions regarding this area should be directed to Dr. Moisés Molina.

6.14 – MUSIC EDUCATION COURSES

The State Department of Education requires 100 clock hours of pre-student teaching clinical experience for all teacher education students. Of these 100 hours, 58 are distributed within the Educational Foundations courses 201, 301, 302, and 303 all of which are required of our students. The remaining 42-45 hours are a part of the following music education core courses:

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Music 130 – Intro to Music Education Music 330 – Basic Conducting Music 331 – Choral Conducting Music 332 – Instrumental Conducting Music 333 – Music Teaching in the Elementary/Middle School Music 334 – Music for the Exceptional Child Music 335 – Choral Methods Music 336 – Instrumental Methods Educ 439 – Music Teaching in the Secondary School

Teacher Education students enrolled in the above classes fulfill the clock-hour requirement through observation, peer teaching, and in-school teaching. For the most current information in the Music Education Handbook, refer to the website: http://www.wiu.edu/cofac/musiceducation/resources.php

6.15 – REGISTRATION FOR ENSEMBLES

All students regularly performing in an ensemble must be registered for credit in that ensemble. It is especially important that ensemble directors do not take students off-campus for ensemble performances unless all students are duly registered and a request for off-campus performance has been submitted in writing to the Director. All students who are registered for applied study must be concurrently registered for ensemble experience in order for the School of Music to meet NASM criteria. Keyboard majors who do not participate in instrumental or choral ensembles must be registered for Music 125 and/or be assigned chamber or accompanying experiences.

7.0 – MUSIC LIBRARY

7.1 – GENERAL

Names and addresses of persons having library materials checked out will not be released. Such information is confidential.

7.2 – RESERVE POLICIES

When submitting materials to be placed on reserve, faculty members are responsible for providing author, title, and call numbers of the items to be placed on reserve. Items to be placed on reserve for purposes other than courses, such as audition tapes, faculty evaluation files, etc., should indicate instructions for use. Faculty members should allow time for materials to be placed on reserve after their lists have been submitted to the Music Library. AT busy times (i.e. the start of the semester) allow at least 48 hours for processing. Materials, which are needed for reserve, may be recalled at any time. Personal copies may be placed on reserve in the Music Library with the understanding that the Music Library is not responsible for their theft and/or mutilation. Professor’s copies will be “sensitized” to activate the gate alarm and bar coded for checkout purposes.

Faculty wishing reserve materials to be used in some way other than traditional in-house use (such as overnight, 2-days, etc.) should indicate those instructions.

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Unless such instructions are included, it will be assumed that these materials are to be used only in the library.

No faculty member may remove from the Music Library any item placed on reserve by another faculty member without written consent from the faculty member who placed the item on reserve. All reserve items will be taken off reserve at the end of each semester unless a faculty member specifically requests otherwise. Faculty members wishing to remove personal copies from their reserves should coordinate this with the Music Library, so that the item can be properly removed from the class reserve. Faculty are expected to provide the Music Library with a current reserve list each semester they wish to have materials placed on reserve. It is not the responsibility of the Music Library to maintain and up-to-date file of reserve lists from previous years or to place materials on reserve without a specific request from a faculty member.

IMPORTANT NOTE: DO NOT SEND YOUR STUDENT TO THE LIBRARY TO USE RESERVES UNTIL (A) YOU HAVE BROUGHT THE ITEM TO THE MUSIC LIBRARY TO HAVE IT PLACED ON RESERVE AND (B) YOU HAVE ALLOWED ENOUGH TIME FOR MUSIC LIBRARY PERSONNEL TO PLACE IT ON RESERVE!

7.3 – CIRCULATION POLICIES

All music library patrons must present a valid WIU ID or Supplementary Library Card to check out materials. All materials are checked out using the automated circulation module.

LOAN PERIODS:Books and Scores (M,ML,MT, except for exceptions noted below) –

Students, staff, area residents – 4 weeksGraduate Students – 8 weeksFaculty – 16 weeks

Scores Classed as M3 (Collected editions) – Students, staff, area residents – no circulationFaculty and Music & Theatre Graduate Students – 1 week

Sound Recordings (CDs, CD-ROMs, LPs, Cassettes)Students – 3 daysFaculty and graduate students – 4 weeksArea residents & staff – 2 weeks

Video Recordings (DVDs, VHSs)All patrons – 2 weeks

MTE’s (Music Education series books)Students, staff, area residents, Faculty and Music & Theatre graduate students – 1 week

Overnight ReserveAll persons – checked out 1 hour before closing, checked in 1 hour after the next opening

Permanent Reserve Students, staff, area residents – no circulationFaculty and graduate students – 1 week

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Note: Restricted Reference and Reference Books are in-house use only. For Research and teaching purposes, Periodicals may be checked out by faculty for 2 days.

Exceptions to the above loan periods may be made on a case-by-case basis with permission from the Music Librarian. Students may check out non-circulation materials, except restricted materials, for the following reasons: for use in one class period, on deposit of a valid picture ID.

RECALLS, HOLDS AND SEARCHES:

If an item you want is not on the shelf: Ask at the circulation desk to see if it is overdue. If the item is checked out and overdue, we will recall it and notify you of its return, holding it for three (3) days. If the item is checked out but NOT overdue, we will put a HOLD on it and notify you when it is returned, holding it for you for three (3) days. If an item is not checked out and not on the shelf, complete a blue search card (available at the circulation desk) and we will notify you if we find it.

An item may be recalled at any time for a reserve assignment. Any item checked out for more than one loan period may be recalled for use by other library users. This includes materials that have been renewed.

Although faculty members are not charged for overdue materials, failure to return items in a timely manner is considered unprofessional. In consultation with the department chair, persistent or unresponsive offenders may have their borrowing privileges suspended. It is expected that those who lose or mutilate library materials replace them with an exact duplicate or with an equivalent as specified by the Music Librarian.

It is the responsibility of the person who checks out an item from the Music Library to see that it is returned. THE PERSON TO WHOM THE ITEM IS CHECKED OUT IS ULTIMATELY RESPONSIBLE FOR THAT ITEM.

Library users must check out library materials IN PERSON. No person will be allowed to check out library materials for another. Exception: Faculty wishing to have a student check out materials for them must fill out a form at the start or during the course of the academic year designating a student or students to act as their surrogate. Items will then be checked out to the professor’s account.

7.4 – AUDIO EQUIPMENT USE

The Music Library’s listening equipment may be used ONLY in the Music Library. The Music Library adheres to copyright law in the making of copies on its equipment.

7.5 – MATERIALS REQUESTS

Books, scores and sound recordingsNew materials can be requested at any time, but only those ordered in the fall (between August and December) will be received during the current year. Requests may be submitted through e-mail, by marking a publisher’s catalog, a legibly produced list, etc. Although faculty requests are a high priority for purchase, those which do not conform to the Music Library’s collection development policy may not be ordered.

Periodical titles

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In the current financial climate, the library has instituted a quid-pro-quo policy for new periodical requests; to order a new periodical title, one of an equivalent cost must be cancelled.

VideosDuring the course of the fall semester 2006, all music-centered videotapes and DVDs were transferred to the Music Library. Audiovisual items will only be purchased in DVD format. Purchase requests will be treated as for all other media.

If a faculty member needs an item RUSH, he/she should communicate this information to the Music Librarian, and every effort will be made to make the item available as soon as possible.

7.6 – LIBRARY INSTRUCTION/INFORMATION LITERACY

The Music Librarian is happy to offer instruction sessions for classes. Please contact him well in advance to schedule a class. Regarding the use of computer classrooms in Malpass Library, library policy states: “Generally speaking, faculty may reserve a classroom no more than three hours a semester for any particular class.” Experience has shown that library instruction works best when directly related to class assignments. The Music Librarian is always happy to consult on the design and implementation of such assignments. It is highly desirable that professors attend instruction classes with their students to derive maximum benefit from the sessions.

8.0 – ABSENCE/TRAVEL

8.1 – ABSENCE (SICK LEAVE, PERSONAL LEAVE, CONFERENCE ATTENDANCE)

All faculty absences must be reported to the Director prior to the date of the absence. Forms are available in the Music Office for this purpose. In the event of an emergency absence, a written report of the absence must be filed upon return. Even attendance at professional conferences/meetings which do not involve allocation of university travel funding or use of a state car must be reported to the Director prior to the absence if such absence occurs on a day the university is in session.

All sick days and personal days must be reported to the Director and the Music Office staff at the time of the occurrence regardless of provisions made by the faculty member for making up lessons, rehearsals, classes or other assigned duties. Up to five days of sick leave per year may be used for personal days. Please see Article 27.8 of the Agreement 2010-2015 for additional information on personal leave.

Additional details on sick leave (Article 27.7), can be found in the UPI 2010-2015 Agreement, and the WIU faculty handbook.

8.2 – TRAVEL/REQUEST TO TRAVEL FORM/UNIVERSITY VEHICLES

If request is made well in advance and approved, state vehicles are usually available through the University’s Transportation Services. A requisition will be typed online and submitted to that department, using information from the completed travel request. All mileage for state vehicle use is billed to the School of Music at $.50 per mile for cars with a daily minimum of $15.00 and 30 miles and a weekly minimum of $70.00 for 140 miles; $.55 per mile for mini-vans with a daily minimum of $15.00 for 27 miles and weekly minimum of $80.00 for 145 miles.

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Charge for 15 passenger vans is $.80 per mile with a daily minimum of $25.00 and 31 miles and a weekly minimum of $125.00 or 156 miles. Extended parking is $10 per day, excluding days to and from the airport, train station, etc. Rates include fuel and emergency repairs. The reimbursement for use of a personal vehicle must be paid at the state-mandated rate of 57.5 cents per mile. There is a “No Show/No Cancellation Fee” of $25 for all 12/15 passenger and cargo vans that are not used for the requested trip, and are not canceled 48 hours or two full business days (if the trip is after a weekend or a holiday) before the pick up time on the trip sheet. There is a $25 extraordinary cleaning fee. Please be aware of these extra charges and take the necessary steps required to keep costs down. In addition, an updated Employee's Certification - Privately Owned Vehicles form is required for employees who operate a privately owned vehicle for State Business. The certification process is online through WIUP on the web, screen VINC. All employees will be required to complete the online certification before being reimbursed for travel expenses related to personal vehicle use. (Using university vehicles ordinarily is more economical than payment of reimbursement for use of a personal vehicle.)

Travel requests are available in the Music Office. Fill out the form and submit your request for absence. Requests for faculty travel funding now goes to the Provost. Requests for travel professional conference registration fee funding goes to the Dean. All travel is funded from the fiscal year in which it occurs.

University Vehicles:After approval, you will receive a copy of the request IF THERE IS A CAR AVAILABLE. When checking out the vehicle, present the copy of the T-1 form to the garage personnel at the Physical Plant. If departing after hours, pick up vehicle keys before the garage’s closing hours – 5 p.m. on Weekdays, 2 p.m. on Saturdays. The garage is closed on all Sundays and holidays. Vehicles are never to be taken the day before and parked overnight anywhere except the University Garage. When returning after hours, place the keys along with the form (be sure to record your mileage) in the slot in the garage door.

Travel Receipts:Upon your return, please bring any requested receipts to Tammy Fretueg who will initiate a travel voucher. ORIGINAL RECEIPTS ARE REQUIRED FOR: (a) COMMERCIAL TRANSPORTATION; (b) HOTEL EXPENSES; (c) ANY ITEM $5.00 OR MORE. (If you are sharing a room with another person, and you wish to be reimbursed, you must ask the hotel desk to prepare separate bills for each person splitting the total bill.) After you have signed the travel voucher, it will be sent to the Business Office for payment. Processing sometimes takes 10 days to 2 weeks and payment will be deposited electronically into your bank account in the same manner as your monthly salary. All travel vouchers must be completed within 30 days of the time of travel or they will become void in the Business Office and your request for reimbursement of expenses will not be honored.

9.0 – RECRUITMENT/PROSPECTIVE STUDENTS

9.1 – GENERAL PROCEDURES FOR RECRUITMENT AND ACCEPTANCE OF PROSPECTIVE STUDENTS

9.1a – INITIAL CONTACTS

Names of prospective students are received from faculty contact, admissions recruiter or other sources. This information is submitted to

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Trista Trone. She initiates a computer file, sends an email and/or calls the student to establish a line of communication, and notifies the appropriate faculty for follow-up (letters, brochures, telephoning, etc.) All additional information on these contacts must be reported back to Trista Trone for incorporation into the file of the individual student. It is very important that she receives this information so one “master” source of information exists for each prospective student.

9.1b – FOLLOW UP

Appropriate individual faculty members should do follow-up contact with the student. Each faculty member may compose a standard follow-up letter and designate enclosures, which Trista Trone will prepare for your signature upon your request for same. These should all be done through her so one source is aware of what has been done. If you wish to do your own individualized response letters please furnish Trista Trone with a copy for the prospective student’s computer file each time you correspond. Please copy Trista on all email correspondence.

9.1c – AUDITIONS

All students who desire to enter music degree programs must audition. Audition Committee members and other faculty members hear the audition, determine entrance eligibility and make general recommendations concerning Talent Grant Awards. All individuals hearing an audition will indicate the type of acceptance on the Music Audition form; i.e., full acceptance, probationary acceptance, or non-acceptance. It is particularly important that specific reasons for non-acceptance be clearly stated.

9.1d – AWARD LETTERS

Talent Grants, Tuition Waivers, and memorial Scholarships are awarded in varying amounts depending upon the student’s talent and the needs of our ensemble program. The Auditions/Talent Grants committee meets regularly to review the status of awards/award offers and to coordinate the allocation of these resources in a manner that promotes the best overall distribution of student awards in the entire School of Music. Trista Trone will write a letter to each student who auditioned indicating whether or not the student received an award and, if so, the amount of the award.

9.1e – ACCEPTANCE STATUS

The School of Music Director or designee, after reviewing the recommendations of the Auditions Committee writes a letter to each student describing his/her acceptance status. The following wording is used in the student letters and defines acceptance status categories.

Full Acceptance as a Music Major: You are performing on the level normally expected of an entering student of your classification (freshman, sophomore, junior, senior), and that we anticipate you will have no particular difficulty in handling the appropriate courses in music. Please be aware that even though you may have indicated an interest in music as a minor, rather than a major, you have the qualifications for entering as a music major should you decide to do so.

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Full Acceptance as a Music Minor: Your level of performance and background in music indicate you could more appropriately meet the requirements of the music minor rather than the greater demands of a music major program.

Probationary Acceptance as Music Major or Minor: The performance audition on your principal instrument/voice is below what is normally expected of an entering student of your classification. You will be expected to work very hard in your lessons to make up these deficiencies plus bring yourself up to level by the end of the first year.

Not Accepted as Music Major or Minor: Your audition does not indicate you have sufficient background in music to be successful in college level study at this time. If you feel you simply had an “off” day, and could perform much better at another time, you may request a second audition. We suggest you prepare for future auditions through private lesson study with the finest studio teacher available in your area. We hope you will still plan to attend WIU and will be able to find a major that will better fit your needs. If so, you are encouraged to pursue your interest in music through participation in one or more of our music ensembles which are open to all university students.

9.1f – INITIAL REGISTRATION

The School of Music Assistant Director (or designee) meets with each freshman and transfer student who appears for pre-registration to work out the schedule of lessons, classes, and ensembles. Throughout the process, the Assistant Director compiles a list/report of all new freshmen and transfer students (including acceptance status) that is available to the faculty via e-mail.

9.1g – FOLLOW-UP OF PROBATIONARY STUDENTS

The applied faculty member who teaches a student accepted on probationary or provisional status keeps a record of the progress of this student. This person then forwards a progress report to the School of Music Assistant Director at the end of the first two semesters of study.

9.2 - POLICY FOR AUDITIONING AND ACCEPTING INCOMING STUDENTS

All students who wish to declare a music major, general minor, or a jazz studies minor must formally audition before the Auditions Committee (or a reasonable proportion thereof) before registering for music minor/major classes.

Music Audition dates are listed below. All School of Music Faculty members should be available on these days and contribute to a successful “open house” atmosphere. Please plan to suspend regularly scheduled classes, lessons, and rehearsals on Monday, February 15, 2016 (President’s Day).

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Auditions for students wishing to enter January 2016 or August 2016 as well as on-campus students who decide they would like to declare a music major or minor and desire consideration for Talent Grant or other awards may audition on these scheduled dates:

• December 5, 2015• January 16, 2016 (Chicago Location TBA)• February 6, 2016• February 15, 2016 (President’s Day)

Every effort should be made to advise students to audition on one of the above dates. It is to their advantage when the full committee is on hand. Students wishing to enter January 2016, as well as on-campus students who decide they would like to declare the music major or minor the following semester, should audition on December 5, 2015 or by special arrangement.

9.2a – OTHER AUDITIONS ISSUES

Every student who wishes to audition may not be able to do so on one of the organized dates. A very good prospect may be identified during one of our special events who legitimately cannot be available on the audition days, or resides too far from campus to appear in person.

International and other geographically challenged students should prepare an audition recording that includes prepared performance and supervised sight-reading. Written verification (by an appropriate music instructor) of the authenticity of both the performance and sight-reading should accompany the recording. These recordings will be heard by the audition committee who will fill out the usual audition comment sheets. Students should be informed that they will need to complete placement examinations as needed when they arrive on campus.

Under normal circumstances, no audition should be accomplished without the prior knowledge or consent of the Auditions Committee. In the very unusual event this is not possible, Trista Trone needs to be immediately informed. Every effort should be made to include a minimum of two members of the Audition Committee. Music Audition forms must be completed by all those in attendance at the audition and immediately forwarded to Trista Trone.

9.3 – SCHOOL OF MUSIC TALENT GRANTS, TUITION WAIVERS, AND SCHOLARSHIPS

The School of Music grants a limited number of awards to qualified students who complete an audition and meet the requirements for these awards. Awards are determined by the School of Music Auditions/Talent Grant Committee and are decided in the Spring semester for the following Fall term.

All recipients of talent grants and tuition waivers are expected to participate in School of Music performing ensembles. The School of Music

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Auditions/Talent Grant Committee, in conjunction with the Ensemble Directors, will determine (and subsequently monitor) appropriate participation, considering the particular balance of grants and tuition waivers received by each student.

In addition to the scholarships and talent grants offered by the Auditions/Talent Grant Committee, the following scholarships are awarded by selected faculty members who decide the recipients:

NAMM Award – Courtney BlankenshipThe Most Versatile Percussionist – Percussion facultyThe Rex and Ann Collins Jazz Piano Scholarship – Jazz FacultyThe Jane Lanier Synovitz Memorial Scholarship – Voice FacultyThe Bruce Gardner Singer Scholarship – Voice FacultyGene Michael Goad Scholarship- Voice FacultyDr. Claudia McCain Music Business Scholarship-Director of the Music Business Program, Music Librarian, and at least one other School of Music faculty member

The Scholarships are:

THE BLYLER AWARD FOR MUSICAL EXCELLENCEThis account was established by Dr. Dorothy Blyler in memory of her parents. Dr. Blyler was a professor in the School of Music from 1949-1967. Awarded to a student who have been in the School of Music two years, has an overall grade point average of 2.5 or better, a 3.0 grade point average in music subjects, and who displays a professional attitude toward music as evidenced by participation in performance groups and service to the School of Music. The recipient will be selected by the School of Music Faculty and Talent Grand Committee.

REX AND ANN COLLINS JAZZ SCHOLARSHIPThe scholarship was established by Rex and Ann Collins to further solidfy the WIU Jazz Studies Program as the premier jazz program in the region. Ann Collins earned her graduate and undergraduate degree from WIU then taught in the School of Music for 29 years before retiring in 1997. She served as the Chairperson of the Department of Music for 9 years. This scholarship is awarded to incoming freshman demonstrating significant talent to the Jazz Studies Program faculty on bass, guitar, trumpet, trombone, saxophone, piano, or percussion. Student must participate in at least two School of Music ensembles.

THE LAURA BEU MUSIC SCHOLARSHIPThis account became known to the WIU Foundation in 1982 when Dr. Frank Beu, President Emeritus of WIU, gave his last will and testament that would provide funding to WIU for the creation of three funds. Dr. Beu was a Professor of Education and President of WIU from 1942-1957. The recipient must have at least a 3.0 cumulative grade point average, be a sophomore, junior or senior. Selection is made by the School of Music Faculty under the direction of the School of Music Director.

THE WALTER H. ELLER MUSIC SCHOLARSHIPThe Eller scholarship is to be presented annually to a junior student and member of the WIU Band program. The recipient must have an overall grade point average which would place the student in the top three grade point averages from all scholarship applicants. Selection is to be made by the School of Music Faculty and Talent Grant Committee. This award is $100 annually, and the scholarship is not renewable.

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THE DR. A. OREN GOULD SCHOLARSHIPThis award is made to a junior music major in instrumental music education. Recipient must have an overall grade point average of 2.5 with a grade point average of 3.0 in music classes. Selection is to be made by the Scholarship Committee of the School of Music. The award is $200, and the scholarship is not renewable.

THE CLIFFORD A. AND ROSA JULSTROM SCHOLARSHIPApplicants for this award must be juniors who are full-time students and majors in string music. A minimum cumulative grade point average of 3.0 or better is required. This scholarship is valued at $500 and will be paid in two installments. The first payment will be made at the opening of the fall semester and the second one will be made the third week of spring semester. This scholarship is renewable if the recipient continues to major in string music and maintains a cumulative grade point average of 3.0 or better. Selection is to be made by the Scholarship Committee of the School of Music. The recipient will be recognized at the Annual Foundation Scholars’ Recognition Ceremony

THE ROSCOE G. LINDER BAND SCHOLARSHIPApplicants for this scholarship should be at least a second year (or above) band member in good standing and should be able to demonstrate dependability, leadership qualities and service to the School of Music. The persons selected should maintain at least a 3.0 average or better while a full-time student at WIU, show potential for growth as a private instructor, band director, performer, or composer, and show some achievement and excellence in some area of instrumental music. Two awards of $900 each are given each year, paid in two installments. Selection is to be made by the Scholarship Committee. If any of the above criteria cannot be met (exclusive of the grade point average requirement), the selection committee is empowered to use its best judgment in making reasonable student selections.

THE JAMES MAGSIG COLLABORATIVE PIANO SCHOLARSHIPThis scholarship was established as an endowment through the generosity of James Magsig. Jim was a Professor of Music at WIU for many years. The recipient(s) for this scholarship must be a student accompanist in the School of Music, be a Music major or minor in good academic standing, and demonstrate a record of outstanding work as an accompanist in either the School of Music or for entering students, in the student’s prior experience. Financial need can be a consideration. Selection is to be made by the School of Music Auditions/Talent Grant Committee with input from the Accompanying Coordinator in consultation with the School of Music Faculty. Newly entering students will be evaluated by the Music Auditions/Talent Grant Committee. This award may be renewed annually if the recipient continues to meet the award criteria.

THE LILLIAN RUTH ROBERTSON SCHOLARSHIP IN PIANOThe recipient(s) for this scholarship must be an incoming freshman female Music major whose primary instrument is the piano. The award is based on performance as determined by audition, with academic record taken into consideration. Selection is to be made by the Talent Grant Committee with input from the keyboard faculty. The award varies year is to be paid in two installments. It can be renewed as determined by the Talent Grant Committee and Keyboard faculty.

THE LILLIAN RUTH ROBERTSON SCHOLARSHIP IN VOICE

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The recipient(s) for this scholarship must be an incoming freshman female Music major. Selection is to be made by the Talent Grant Committee with input from the vocal faculty. The award varies annually and is payable in two installments. The award is renewable subject to the decision of the Talent Grant Committee if the student continues to demonstrate merit and potential.

THE LILLIAN RUTH ROBERTSON SCHOLARSHIP IN STRINGS

The recipient(s) for this scholarship must plan on or be a Music major, and plan on participating in ensembles. Selection is to be made by the Talent Grant Committee, with input from the string faculty. The award amount varies each year and is payable in two installments. The award may be renewable up to four years if the student continues to demonstrate merit and potential.

THE BESSIE MYERS MUSIC SCHOLARSHIPIt is the expressed wish of the donor, the late Ms. Bessie Myers that the students receiving this scholarship, will be chosen for their financial need, their capability and proficiency in performance. Applicants must be a Music major. The award varies from year to year. Selection is to be made by the Talent Grant Committee, and the award may be renewed as determined by them.

THE HUGO MAGLIOCCO TROMBONE SCHOLARSHIPUpon retirement after a 36-year career at Western Illinois University, Western’s first trombone instructor, Dr. Hugo Magliocco, has established a trombone scholarship through the WIU Foundation. The recipient of this award must be an international student or an African American/Hispanic American student. The recipient must be entering the School of Music for the first time as a freshman or transfer student and must have auditioned for, won and continue to maintain a talent grant award through the School of Music. This scholarship will be used to supplement the talent grand award to cover tuition and fees. If the student is granted a full tuition award from the School of Music, this award will consist of an annual stipend as determined by the WIU Foundation based on resources available in the scholarship account. The scholarship is renewable for up to eight continuous semesters as long as the student remains a full-time music major and continues to study trombone each semester in residency. The student must maintain a GPA of 3.0 in music (excluding all ensemble grades), and a 2.5 GPA outside of music each semester.

THE JANE LANIER SYNOVITZ MEMORIAL SCHOLARSHIPThis account was established in 1980 by Dr. Robert J. Synovitz, WIU professor, in memory of his late wife Jane Lanier Synovitz.The Recipient of this award must be a junior woman with a grade point average of 2.8 or above, and outstanding vocalist, and a major in music. Selection is made by the Talent Grant Committee with input from the Vocal Music Coordinator.

THE WANNINGER FOUNDATION SCHOLARSHIP

The Wanninger Foundation was established in 1984 by the children of Forrest and Mary Wanninger in recognition of their parents’ long dedication to the teaching of music and English. This award is rotated annually between the School of Music and Department of English. Scholarships are available to students whose educational careers were interrupted for at least two years and now have decided to continue their education. Candidates may be pursuing a baccalaureate or a graduate degree and must be a full-time student pursuing a degree in either

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education or liberal arts in education or performance with vocal music emphasis. Undergraduate candidates must maintain at least a 2.5 average and a graduate candidate a 3.0 average. Selection is to be made by the Talent Grant Committee. The award is renewable for one year if the minimum grade point average is maintained, with recommendation from the Talent Grant Committee.

WIU VOCAL JAZZ

The scholarship was originally established in late 1977 by Dr. and Mrs. James L Conley in support of WIU Newcomers. Recipients must be a member of the WIU Vocal Jazz Ensemble, including band members.

NAMM AWARD

$1000 each year is given by the National Association of Music Merchants to one or two Music Business majors who have successfully completed four semesters of Music Theory, four semesters of Applied Study, Economics and Accounting, and possess a high grade point average. Recipients are expected to attend a NAMM trade show and must plan to intern in the music products industry. Application should be made to Courtney Blankenship and selection is made by NAMM.

TOM WOOD CLARINET SCHOLARSHIPApplicants for this scholarship must be an undergraduate or graduate Music Performance or Music Education major with clarinet as their primary instrument, must demonstrate significant musical talent, and demonstrate financial need. Selection is made by the Talent Grant Committee. Continued growth and participation in the School of Music as a major will be part of the criteria for renewability.

THE RUBY MILLER RAGLIN MEMORIAL SCHOLARSHIP IN MUSIC

The Ruby Miller Raglin Memorial Scholarship in Music was established in 1999 by the Orpha Raglin Welke Estate to provide scholarship assistance to outstanding students in music performance. Applicants for this scholarship must be a music major, participate in performance groups, demonstrate potential to become a professional musician, demonstrate dependability, leadership, and service to the School of Music, and demonstrate outstanding musicianship. More than one recipient may be selected and the award amounts can vary. Selection will be made by the Talent Grant/Auditions Committee. Evidence of outstanding potential as a musician and co-curricular activities will be considered in awarding the scholarship. The scholarship can be renewed if the recipient remains a music major and continues to demonstrate outstanding musicianship.

THE BRUCE GARDNER SINGER SCHOLARSHIPThe intent of this scholarship is to encourage the attraction, retention and development of outstanding singers in the WIU School of Music. It is intended not only to attract vocal musicians, but also to encourage their continued vocal, musical and scholastic growth. It is further intended as an incentive for each of its recipients to strive to achieve the highest possible level of professional vocal musicianship. This scholarship was established in 2001 by Associate Professor of Music Emeritus R. Bruce Gardner and his wife Lila L. Gardner. Applicants for this scholarship must be an undergraduate or graduate Music major whose primary performing instrument is voice, and must demonstrate a combination of performance quality and perceived vocal potential. (If a choice must be made from among vocal and musical equals, preference is to be given to the tenor voice if applicable.) Eligibility is determined by audition for the studio

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voice faculty. Upon the discretion of the studio voice faculty, this may be renewed if the student remains a vocal Music major and maintains at least a 3.0 grade point average.

THE MOST VERSATILE PERCUSSIONISTThis award is offered each year to a qualified percussionist at WIU. It is renewable for two years if the student meets the following criteria: 1. Eligible to apply for the award during or after the freshman year; 2. Must have participated in the WIU Steel Band for 1 year prior to applying; 3. GPA must be 2.75 or better; 4. Must demonstrate an interest in world music through performance and or participation in world music ensemble; 5. Must take an active leadership role in the WIU Steel Band and World Music Ensemble. Application forms are available from the School of Music and should be submitted for consideration by April 15 for the ensuing academic year. Awards are $500 per year for a total of two years, if eligibility is maintained. Selection will be made by the percussion faculty.

THE GRANT AND KATHRYN SHANKLIN SCHOLARSHIPThe Shanklin Scholarship was established to honor Grant and Kathryn Shanklin, who were both active in the Macomb community through their lives. The selection of scholarship recipients will be made by the School of Music Talent Grant/Auditions Committee. The award is $500 per year and is renewable if the recipient continues to major in a music degree program and maintains a 3.00 cumulative grade point average. The recipient should demonstrate significant musical talent, enrolled in a music degree program as a major, earn a 3.0 grade point average or better, and be a sophomore, junior, senior or graduate student. Financial need may be considered.

THE ANN COLLINS JAZZ PIANO SCHOLARSHIPThe Ann Collins Scholarship, established by Ann and Rex Collins of Macomb, will be awarded to a student who demonstrates significant musical talent in jazz piano performance. Applicants must be enrolled in a music degree program as a major or minor and maintain a minimum grade point average of 3.00. This $1,000 annual award can be renewed based upon the recipient’s continued growth as a musician and jazz pianist, if excellent service to WIU jazz ensembles is demonstrated. Selection will be made by the School of Music Talent Grant/Auditions Committee in consultation with the jazz faculty.

THE RHODA BUTLER COLLABORATIVE PIANO SCHOLARSHIPThis scholarship was established and funded by Rhoda Grass Butler. She enriched lives of many within the community and university since her arrival to Macomb, IL in 1969. She has worked as an active accompanist in the Macomb area for more than 40 years and as a staff accompanist for WIU School of Music from 1990-2002. The Butler Scholarship is open to juniors, seniors, or graduate level accompanists in the School of Music who have demonstrated a record of active and outstanding work as an accompanist in either the WIU School of Music, or for entering students, in the student’s prior experience. Music majors will be given priority. A GPA of 3.0 is required.

THE DALE HOPPER JAZZ STUDIES MEMORIAL SCHOLARSHIPThis scholarship was established as a memorial to honor the School of Music’s late jazz professor emeritus, Dale F. Hopper of Macomb, Illinois. Applicants should be a Music major and demonstrate significant musical talent; must specifically exhibit interest and talent in jazz performance

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and excellent service to WIU jazz ensembles. Selection is to be made by the Talent Grant Committee in consultation with the jazz faculty.

THE VIOLET H. POPPLETON SCHOLARSHIPThe Violet H. Poppleton scholarship for a female vocal music major was established in 2004 by her children, Terry Poppleton, Nancy Krey (WIU 1970, 1980), and Jill Zeitlin through the WIU Foundation. Mrs. Poppleton’s greatest love was music, and it is the family’s hope that this award will help a female voice major in the School of Music, not only to cultivate her musical talents, but also to foster the same passion for music which Vi Poppleton enjoyed throughout her lifetime. Selection will be made by the voice faculty in the School of Music.

DAVID AND SUSAN REEM SCHOLARSHIPS FOR EXCELLENCEThese annual scholarships reward undergraduate musical excellence in the areas of voice (baritone), horn and strings. The Reems were motivated to establish these scholarships by the extremely positive experience their sons, John and Dan, enjoyed while students at WIU. Moreover, the Reem scholarships reflect the esteem in which they hold the WIU School of Music in general and faculty members James Stegall, Randall Faust, and Richard Hughey in particular. Recipients must be currently enrolled, full-time WIU junior or rising junior pursuing a bachelor’s degree in music or a full-time transfer student entering WIU as a junior or senior and pursuing a bachelor’s degree in music. Recipients must have a minimum GPA of 3.0 and participate in the ensemble program. Selection will be made by a faculty committee convened by the Director of the School of Music.

THE GENE MICHAEL GOAD SCHOLARSHIPThis scholarship was established by Sue and Brett Goad in memory of their son, Gene. Gene was born in Macomb, Illinois and returned there after high school to complete his Associate Degree from Spoon River College. Brett Goad, Gene’s father, graduated from WIU with both his bachelor and master’s degrees in choral music. Music played a big part in Gene’s life and this annual award was established to help a WIU junior reach their career goal to have choral music as their vocation. Recipients must be currently enrolled full time junior status pursuing a bachelor degree in choral music. Recipients must have a minimum GPA of 2.5 overall with a GPA of 3.0 or higher in music, and must participate in at least two WIU School of Music ensembles. This scholarship provides for one annual $1,500 award.

DR. CLAUDIA MCCAIN MUSIC BUSINESS SCHOLARSHIPThis account was established in March of 2007 to create the Dr. Claudia McCain Music Business Scholarship Fund. Dr. McCain taught in the School of Music for over 20 years. This scholarship was established to support students who demonstrate outstanding qualities in work ethic, leadership, experience and knowledge or a particular field of music business, and involvement in the School of Music Ensembles. Recipients must be a senior, music business major and have a minimum GPA of 3.0.

DR. TANYA LESINSKY CAREY SUZUKI FUND SCHOLARSHIPWIU Suzuki Strings Program has been granting scholarships since its inception in 1972. The origin of the funds was from the donation of free lesson fees paid by Suzuki families for Almita Vamos and Tanya Carey. In 1999, after the termination of the WIU Suzuki Program, the scholarship

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was renamed in honor of Tanya Lesinsky Carey. Recipients must be a music major on string instruments.

GOLDEN LYRE FOUNDATION SCHOLARSHIPThe Illinois Federation of Music Clubs, as a member of the National Federation of of Music Clubs, voted at the State Board meeting to award a gift annually to WIU from the Golden Lyre Foundation. Recipient should be a music major who demonstrates outstanding musical talent.

10.0 – ASSESSMENT PROCEDURES FOR UNDERGRADUATE MAJORS

10.1 – FACULTY RESPONSIBILITIES

The members of the Auditions Committee are responsible for entry-level assessment. Representatives from theory and keyboard who give placement examinations assist them in the evaluation process.

10.2 – ENTRY LEVEL ASSESSMENT

A high school diploma, ACT score, and class standing for admission to Western, do not guarantee that a student has the necessary background in music for success in a university level music major/minor program. Therefore, all prospective students must successfully complete the following examinations before registering for music major/minor classes:

1. Performance audition2. Sight-reading on principal instrument

On the basis of these examinations, the acceptance status of each prospective student is determined:

1. Full acceptance as a music major/minor;2. Probationary acceptance as a music major/minor;3. Non-acceptance as a music major/minor

10.3 – UNDERGRADUATE MID-CAREER ASSESSMENT PLAN (UMCA)

Rationale:The Higher Learning Commission recognizes that every institution must create its own unique assessment methods but that all successful assessment of student learning can be characterized by these qualities: unobtrusive, flexible, specific, measurable, attainable, relevant, time-bound, and sustainable.

The Western Illinois University Student Learning Assessment Committee charges each department to continually improve undergraduate and graduate education through1) Cyclical processes of identifying learning outcomes,2) Assessing student achievement of those outcomes,3) Analyzing results of assessment, and4) Using results of assessment to enhance curriculum and the teaching-learning

process.

Suggested methods of measuring undergraduate student learning include a broad range of quantitative and qualitative measures such as regular classroom activities, standardized tests, locally developed

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instruments, student focus groups, attitudinal and survey data. The university assessment plan includes a call for departmental reports submitted annually to the Office of the Provost through the college dean.

The School of Music responds to these charges by1) Continuously reviewing and revising qualitative and quantitative

measures such as regular classroom activities and grades, entrance audition standards, applied jury grades, course prerequisites and co requisites, surveys, etc.

2) Applying the Undergraduate Mid-Career Assessment (UMCA) developed in

2007.

Method: The School of Music Director appoints an Undergraduate Assessment Coordinator to administrate undergraduate mid-career assessment and maintain annual reports.

Undergraduate Mid-Career Assessment Plan 1) Cyclical process of identifying learning outcomesThe Assessment Coordinator works with the Director, the Assistant Director, the Undergraduate Studies Committee and the Graduate Studies Committee and faculty to maintain consensus on identifying learning outcomes.

2) Assessing student achievement of those outcomesThe Assessment Coordinator maintains an accurate database of student learning outcomes, then forwards assessment data to advisors who identify and counsel students not progressing in their degree programs.

3) Analyzing results of assessmentThe Assessment Coordinator forwards the assessment data to the Undergraduate Studies Committee who analyze the data using year-to-year, course-to-course, transfer- and native-admissions comparisons, direct and indirect measure comparisons, etc. 4) Using results of assessment to enhance curriculum and teaching-learning

processThe Assessment Coordinator presents a yearly assessment summary report to the faculty for review and discussion. Faculty and area committees use the report to inform and enhance curriculum and the teacher-learning process.

Undergraduate Mid-Career Assessment Plan, pg. 2

Revised Formats and Procedures:Mid-Career Assessment Student Report / Faculty Report

See below- Course Prerequisites and Co requisites

See below Student Handbook

See belowAssessment Cycle

See belowThird Semester Jury Reports

Each area maintains unique format but all areas must include rotational sight-reading on principal instrument.

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Student Handbook Appendix B Undergraduate Mid-Career AssessmentAll native and transfer students having completed three semesters of coursework in the music major will be reviewed for satisfactory progress in the following areas:1) Cumulative GPA2) transfer exams (where applicable)3) third-semester applied juries4) three consecutive semesters of:

a) Applied Instrument / Third Semester Applied Juryb) Theory / Aural Skillsc) Class Pianod) Listening (MUS 100 and MUS 190)

Students not making satisfactory progress by achieving a “C” or better in the above areas will not be allowed to enroll in upper-division classes and should seek counsel from their assigned academic advisor.

Third-Semester Applied Jury Music majors will perform a third semester repertoire and sight-reading applied jury in which they will be evaluated on progress in basic musicianship skills germane to the individual discipline. Students must receive a ‘C’ or better to pass the third-semester jury in order to enroll in upper-division applied study.

Transfer ExamsAll transfer music majors are required to be evaluated in the following areas during the first class day of their first semester enrolled at WIU.

Prior Coursework:Provide copies of transcripts

Skill Exams:Theory / Aural Skills HistoryPiano

Graduate AssessmentSee Coordinator of Graduate Studies for information on placement exams, comprehensive exams, required capstone projects, etc.)

Assessment Cycle

Summer Break Assessment Coordinator (AC) contacts transfer students regarding evaluations, contact faculty to schedule/prepare evaluations.

Fall 1st day of class AC coordinates transfer evaluations with Theory, Piano, and History. Collect results for database.

Fall September Week 1 AC submits summary of previous academic year assessment to faculty for -review, discussion, curriculum enhancement, etc.

Fall November Week 1 AC requests from faculty 3rd semester sophomores and transfers to be tested in applied jury. Collect copy of each type of jury template, check for sight-reading as component.

Winter Break AC creates assessment data report for advisors after Fall grades post to MVS.

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Spring 1st day of class AC distributes assessment data reports and individual report forms to

advisors.

Spring February Week 1 AC reminds advisors to complete individual consultations and reports.

Spring March Week 1 Advisors submit completed and signed reports to Assessment Coordinator who reviews and sends to student file.

Spring April Week 1 AC creates summary of assessment data and submits to

Undergraduate and Graduate Studies Committees for analysis and program review.

Spring May Week 1 AC submits final assessment report to Director. Include sight-reading templates.

Undergraduate Mid-Career Assessment ReportFall 2015

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Date: ______________

Student: Assigned Academic Advisor: ______________

Student Signature: ___________________ Advisor Signature: ________________________

METHOD: Basic music skills courses, 3rd semester juries, and transfer placement exams are reviewed to indicate student progress in the degree program and potential success in upper-division coursework.Students not progressing with "C" in all categories below may be counseled for remediation or to change their major.

SECTIONS REVIEWED1 - Applied Grades, 3rd Semester Jury and Sight-Reading2 - Theory & Aural Skills Grades/Transfer Placement3 - Piano Grades/Transfer Placement4 - History (MUS 190) Grade/Transfer Placement

KEYSAdmission Type Class1 - freshman 6 – re-enter WIU new start 1 - Freshman2 - visiting student 7 – graduate re-entry 2 - Sophomore3 - transfer undergraduate 8 – graduate new 3 - Junior4 – open admission 9 – non-degree freshman/special 4 - Senior5- re-enter WIU undergrad high school

STATUS ADM CLASS PROG INST. GPA Notes:Satisfactory TYPE CUM.

Unsatisfactory

GRADES & EVALUATION

1 - Applied Grades, 3rd Semester Jury and Sight-Reading Notes:

SEM 1 SEM 2 SEM 3 JURY 3 SIGHT-READ

2 - Theory Grades/Transfer Placement

080 181 183 182 184 281 283 282 284 (Theory I) (Aural (Theory II) (Aural (Theory (Aural (Theory (Aural Skills I) Skills II) III ) Skills III) IV) Skills IV)

Notes:

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3 - Piano Grades/Transfer Placement

065 165 166 265 266Remedial (Class (Class (Class Piano (Class PianoPiano Piano I) Piano II) III) IV)

Notes:

4- History (MUS 190) Grade/Transfer Placement Notes: 190What to Listen for in Music

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SCHOOL OF MUSICPrerequisites and Corequisites Applied StudyPrerequisite: audition and written consent of music advisor. Music majors receiving a grade of D or F in applied study on their principal instrument must reaudition for departmental, acceptance. Enrollment in upper division courses (400 level) requires a C or better on the third-semester principal instrument applied jury including sightreading. After a student passes the principal instrument third-semester jury, applied study in the principal instrument from the fifth through the eighth semester will receive upper division credit.

Mus 166 Piano IIPrerequisite: C or better in Mus 165 or equivalent.

Mus 265 Piano IIIPrerequisite: C or better in Mus 166 or equivalent.

Mus 266 Piano IVPrerequisite: C or better in Mus 265 or equivalent.

Mus 300 Student Teaching ReviewPrerequisite: for instrumental-general majors: C or better in Mus 166; for choral-general specialization: C or better in Mus 266; C or better in Mus 282, and C or better in Mus 284. Graded S/U only.

Mus 330 ConductingPrerequisite: Mus 282, and Mus 284.

Mus 331 Choral ConductingPrerequisite: C or better in Mus 330.

Mus 332 Instrumental ConductingPrerequisite: C or better in Mus 330.

Mus 333 General Music in the Elementary/Middle SchoolPrerequisite: Mus 166, Mus 182, Mus 184; for choral-general specialization only: Mus 231-232 or consent of instructor; Eng 180 and 280.

Mus 334 Music for the Exceptional childPrerequisite: Mus 166, Mus 182, Mus 184; Eng 180 and 280; junior/senior standing or consent of instructor.

Mus 335 Choral MethodsPrerequisites: C or better in Mus 330.

Mus 336 Instrumental MethodsPrerequisite: Mus 166, Mus 182, Mus 184; Eng 180 and 280; instrumental techniques courses or equivalent background.

Mus 337 Jazz Band Methods and TechniquesPrerequisite: Mus 166, Mus 182, Mus 184.

Mus 351 Basic ArrangingPrerequisite: Mus 166, 282, Mus 284.

Mus 367 Jazz Improvisation IIPrerequisite: Mus 166, Mus 182, Mus 184, Mus 267.

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Mus 381 Analysis IPrerequisite: Mus 166, Mus 282, Mus 284; Eng 180 and 280.

Mus 387 Jazz Arranging and Composition IPrerequisite: Mus 166, Mus 182, Mus 184, Mus 187.

Mus 390 European Art Mus IPrerequisite: Mus 166, Mus 182, Mus 184, C or better in Mus 190; Eng 180 and 280.

Mus 391 European Art Mus IIPrerequisite: majors: Mus 390; minors: consent of the instructor.

Mus 396 Choral LiteraturePrerequisite: Mus 166, Mus 182 and 184, Mus 232, Mus 262, Mus 263.

Mus 430 Marching Band TechniquesPrerequisite: Mus 116, Mus 265, Mus 281, Mus 283.

Mus 439 Music Teaching in the Secondary SchoolsPrerequisite: Mus 166, Mus 282 and 284, Mus 330, Eis 201 and 301.

Mus 453, 454 Influences of Music on BehaviorPrerequisite: Mus 166, Mus 182, Mus 184; Mus 251, 252, 253, junior standing or consent of instructor, in succession.

Mus 455, 456 Music Therapy Principles and PracticesPrerequisite: Mus 166, Mus 182, Mus 184; senior music therapy major or consent of instructor, in succession.

Mus 465, 466 Piano PedagogyPrerequisite: Mus 182, Mus 184; Eng 180 and 280; Psy 100 and 221; Piano principal or consent of instructor, in succession.

Mus 481 CounterpointPrerequisite: Mus 166, Mus 282, Mus 284.

Mus 482 Materials of 20th Century Music Prerequisite: Mus 166, Mus 282, Mus 284.

Mus 483 OrchestrationPrerequisite: Mus 166, Mus 282, Mus 284.

Mus 485 Techniques of Electronic MusicPrerequisite: Mus 166, Mus 182, Mus 184.

Mus 495, 496 Piano LiteraturePrerequisite: Mus 182, Mus 184; Eng 180 and 280; piano principal or consent of instructor.

Mus 487 Jazz Arranging and CompositionPrerequisite: Mus 387, Mus 482, or consent of instructor.

Mus 493, 494 Organ LiteraturePrerequisite: Eng 180 and 280; organ principal or consent of instructor.

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Mus 497 Jazz History, Selected TopicsPrerequisite: Mus 166, Mus 182, Mus 184, Mus 397; consent of instructor.

10.4 – EXIT/GRADUATION LEVEL ASSESSMENT

Each program option in music includes a capstone activity that requires the student to integrate all areas of study; assesses accomplishment; and predicts success in the field:

Music Education Option: Student Teaching and K-12 State Certification Exams

Music Therapy Option: Six-month Clinical Internship and examination for National Registration as a Music Therapist

Music Business Option: One-semester Internship with a music business firm

Applied Music Option: Senior Recital Performance or Composition Portfolio

All graduating seniors are asked to complete and return a Senior Satisfaction Survey in an attempt to determine perceived strengths and weaknesses in the music major program.

10.5 – ALUMNI ASSESSMENT

The alumni survey follows guidelines recommended by the National Association of Schools of Music and is sent to all graduates in their third year following graduation.

11.0 – SCHEDULING CONCERTS AND OTHER EVENTS

11.1 – SCHEDULING / SCHEDULING CONFLICTS

The School of Music faculty has endorsed a policy (4-24-98) that prohibits the scheduling of more than one concert or recital on the same date at the same time. This includes calendar conflicts with events on the Bureau of Cultural affairs schedule. Concerts and special events on campus as well as off-campus concerts and tours are scheduled through Joanie Herbert. If the event is other than routine, the Director should be consulted. Effective 2/03/05, no concerts or recitals shall be scheduled during final exam week or the Sunday prior to exam week.

11.2 - SCHEDULING PERFORMANCES

COFAC Recital HallAll performances, rehearsals, special events, studios, recording sessions, etc., in this venue must be scheduled and coordinated through Joanie Herbert, Recital Hall Manager.

University Union / Other Performance VenuesPerformances to be held in the University Union, other buildings on campus, or in area churches, must be arranged by the hosting School of Music faculty member (who is also responsible for all other arrangements related to the site and performance). Any school of Music performance held in a location other than the COFAC Recital Hall must be scheduled with Joanie Herbert and confirmed on the School of Music Master Calendar before facility arrangements are made elsewhere.

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Convocations and Student Showcase RecitalsStudent convocations, including Student Showcase Recitals, are held at 2:00 p.m. on Tuesdays in the COFAC Recital Hall. Lessons, rehearsals, or meetings must not be scheduled during this time.

There will be two Student Showcase Recitals per semester. Nomination forms shall be placed in faculty mailboxes early in each semester and also sent by e-mail attachment. Applied teachers who wish to nominate students to perform should place completed and signed forms in the Convocation Committee convener’s mailbox by the stated deadline. Complete program information should be submitted to Joanie Herbert no later than Thursday noon preceding the convocation date. Program information should be submitted in legible form. Each area will receive the following approximate breakdown of minutes, per semester, for Showcase Convocations is as follows: vocal area – 25 minutes; wind, brass, and percussion areas – 45 minutes; keyboard area – 10 minutes; string area – 10 minutes. Each convocation should not exceed a total of 45 minutes each.

Ensemble ConcertsGeneral scheduling for each academic year shall begin in the preceding spring semester. Before the calendar opens for general scheduling, the Recital Hall Manager will coordinate a scheduling meeting to be held with the ensemble directors towards the end of the fall semester. All special events, tours and field trips, and large ensemble concerts shall be confirmed on the calendar at this time. After publishing the initial calendar, secondary ensembles, faculty ensembles, solo faculty, faculty guest recitals, and BCA events can be scheduled. Several days and times will be blocked and reserved for student recital scheduling which will take place during the second week of the fall semester (See Section 11.4 – Student Recitals).

FormsAt the beginning of each semester, faculty members who have scheduled an event on the music calendar will receive the pertinent forms via email from the Recital Hall Manager, including a Recording Request Form. A WESTEC Request for Service Form is also available, if needed. On the Recording Request form will be posted a three (3) week forms deadline. The Recording Request Form is due back in the Recital Hall Office by this deadline, with appropriate information filled out and signatures obtained. Program and press information must also be submitted by this date.

All calendar information is available online to School of Music faculty and staff through Zimbra’s shared calendar. Contact Joanie Herbert at 298-1843 to request access to the Recital Hall calendar through Zimbra.

11.3 – School of Music Calendar Scheduling Order

Each year after the directors’ scheduling meeting is announced, School of Music event scheduling is prioritized in this order:

Director’s Scheduling Meeting at the end of fall semester:

1. All Special Events, including: Scholarship Concert, Marching Band Classic, annual Choral Workshops held in the fall, Orchestra Halloween Concert, IMEA District IV Music Festival (WIU), Holiday Festival of choirs, Madrigal Dinners (every other year), IMEA All-State Music Festival (Peoria),

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Jazz Festival, Showcase of Bands, New Music Festival, Opera Theatre and any conferences hosted by the WIU School of Music.

2. Large Ensemble Concerts, Tours, and Area Festivals: Wind Ensemble, Concert Band, Orchestra, University Singers, Concert Choir, JSO, Jazz Bands, Brass Festival, Horn Festival, Jazz Rhythm Festival, Piano Festival

3. Secondary Ensemble Concerts, including : Vocal Jazz, Percussion Ensemble, Steel Band, Brass Ensemble, Chamber Winds, Chamber Orchestra

4. Auditions

Faculty and BCA Scheduling: January – March, 2016:

5. Faculty Chamber Ensembles (Camerata Woodwind Quintet, Lamoine Brass Quintet, Hopper Jazztet, etc.)

6. BCA events, including the Faculty Chamber Series7. Faculty Solo Recitals8. Faculty Guest Recitals9. Studio Recitals

General School of Music and Guest Scheduling: After March, 2016Guest Scheduling is subject to the Guest Rental Information and Scheduling Guidelines (2015 – 2016) which can be obtained by contacting Joanie Herbert.

10. Students who are pre-authorized by their professor to perform during the first six weeks of the fall semester may schedule in the preceding spring semester. All other students will wait until the Fall Student Recital Scheduling Days.

11.School of Music Student Organizations (Mu Phi Epsilon, Phi Mu Alpha, MTNA, etc.)

12.Outside guest events as approved by the Director of the School of Music Fall Semester

13. The Calendar is open for Student Recital Scheduling the second week of school during the fall semester. All student recitals for the academic year shall be scheduled during these days in a prioritized manner according to major and seniority. (See 11.4 Scheduling Student Recitals).

11.4 – STUDENT RECITALS –

Scheduling Student RecitalsThe calendar is open for student recital scheduling during the second week of school in the fall semester. Students will be scheduled in a prioritized manner on designated days. All student recitals must be confirmed on the calendar by Friday, September 25, 2015.

Student recitals are allowed a maximum duration of 90 minutes.

Full stand-alone solo recitals required for a degree in performance may be scheduled for graduate students and seniors. All other performance majors will schedule combined recitals.

Students outside of upper level performance major status will schedule combined recitals. Combined recitals consist of two or more students giving two ½ duration stand-alone performances or a complete duration combined performance. One program will be made.

All student recitals are scheduled with a tentative status pending the outcome of a pre-recital hearing.

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Students shall follow this order for scheduling:

Monday/Tuesday – 8/31/15 - 9/1/15: Grad and Sr. Performance majors Wednesday/Thursday – 9/2/15 - 9/3/15: Grad and Sr. Non-performance majorsFriday 9/4/15 through Friday 9/25/15: Jr. majors and all other students or student groupsRecitals to be confirmed by Friday, September 25, 2015.

Scheduling hours during these days are:Monday through Friday - 8:30 – 12:00 a.m. and 1:00 – 4:00 p.m.(and by appointment if class schedule conflicts)

Exceptions are made for those students pre-authorized by their professor to perform during the first six weeks of the fall semester. These students may sign up during an authorized period the previous spring semester (See 11.3 School of Music Calendar Scheduling Order).

Scheduling dates and open Recital Hall Office times for student scheduling shall be posted in Browne Hall, sent by e-mail, and placed in faculty mailboxes at the beginning of the fall semester. Students may not schedule recitals by phone or e-mail, but must come in to the Recital Hall Office during designated scheduling hours.

Recital Pre-AuthorizationStudents must bring a “Recital Pre-Authorization Form” when they come to schedule their recital. No reservation will be made by Joanie without required faculty signatures on this form. These forms can be obtained from the Music Office, the Recital Hall Office (SI 505), or requested by e-mail at JE-Herbert@wiu.edu. Copies of the preauthorization forms will also be placed in faculty mailboxes and sent by e-mail at the beginning of the fall semester.

On the “Recital Pre-Authorization Form”, three choices of dates/times can be selected in order of preference. The performance calendar will be available online to all students at www.wiu.edu/recitalhall . The School of Music master calendar will also be posted on Joanie’s door and in Browne Hall lobby. During recital scheduling, daily updates to the calendar will be posted. Students should not e-mail and ask for a listing of available times for scheduling their recitals. It is each student’s responsibility to stay apprised of the posted calendar and confirm with their applied teacher the date/time choices before coming in on their scheduling day.

If a student cannot come in during posted times, they may make an appointment.

Effective 2006-2007, only graduate students and seniors may schedule solo recitals. Juniors and all others may schedule combined recitals. Student recitals can total no more than 90 minutes of music.

Student Recital FormsOnce a student recital has been officially scheduled, a date/time confirmation and a forms return deadline will be sent to the student and professor by e-mail. A notice will also be sent to the piano accompaniment area coordinator. A second e-mail notice will be sent out to all students with forms packets attached.

The student recital forms packet includes 4 forms: (1) Student Recital Preparation Checklist and Set Up Requests, (2) Recording Request Form, (3) Recital Approval (Hearing) Form, and (4) Sample of the format for how to submit program material.

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The “forms return” three-week deadline will be posted on the packet. All forms must be filled out, appropriate signatures obtained, and a recital hearing completed by the “forms return” deadline. Complete program information is also due by this date. If a form is lost or misplaced, the student should contact Joanie for another set.

Pre-Recital HearingsA pre-recital hearing must be held for each student no less than four weeks prior to the scheduled performance. Each area determines the composition of its hearing committee. The members of the area hearing the pre-recital performance must at that time approve the performance by signing the Recital Approval Form. The area chairperson and one other member of the member of the area must sign such approval. The student recitalist should be prepared to perform 15-20 minutes of pre-determined music at performance level with accompanist at this hearing. Other works may be asked to be performed at that time. The area hearing the pre-recital will select which pieces or movements they wish to hear in addition to the piece(s) performed with accompanist. The Recital Approval Form must be completely filled out with appropriate signatures obtained before submitting to the Recital Hall Office. If the form is incomplete, it will be returned to the student’s applied faculty member and the recital will remain in a tentative status until the completed form is returned.

Publicity for Student RecitalsIf completed recital program information is returned by the three-week deadline, the student’s program will be uploaded on the Recital Hall Web site and sent out on a weekly event list to the departmental publicity listserv. If information is not received by the deadline, these publicity services are not guaranteed.

Canceling Student RecitalsOnce a recital has been confirmed on the School of Music calendar and the Recital Hall is reserved, a student may cancel a recital only for reasons of ill health or other reasonable emergencies. The feeling of being unprepared for failure to secure an accompanist shall not be considered adequate cause for cancellation. If a student cancels a recital for reasons other than an emergency, he/she must petition the Music Advisory Council for an exception to the policy. Students canceling a recital in violation of the above policy must forego the privilege of playing a recital until one year from the date of the previously scheduled performance. If a non-emergency cancellation occurs within one week of a Recital Hall reservation, a $75 fine will be imposed.

11.5 – ASSIGNMENT OF ACCOMPANISTS

Please refer to Appendix V – Staff Accompanist Guidelines for current policies and procedures related to the assignment of School of Music accompanying resources.

11.6 – PROCEDURES AFTER SCHEDULING A CONCERT OR RECITAL

ProgramsProgram information should be submitted in electronic format, using Microsoft Word, to Joanie Herbert by the three-week forms return deadline. Required program information is stated in the Checklist Form. If difficulty occurs in sending any information in electronic format, please notify Joanie Herbert.

PublicityPublicity for events scheduled to take place in the Recital Hall must be submitted to the Recital hall Manager in electronic format by the three-week deadline, using

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Microsoft Word. Program information is sufficient for publicity. In the case of a guest recital, the guest biography, photo, and/or Web site address should be included.

The Recital Hall manager will place this information on the Recital Hall Web site and the University School of Music Web Calendar. Program information will also be sent out in a weekly event listing to the departmental listserv. If information is not sent by the deadline, these publicity services are not guaranteed.

For special events, press information should include all information listed in the checklist form: program information, complete ticket and box office information, tour locations, publicity photos and other items of interest related to the event.

Developing print advertising, such as brochures, posters, and newspaper ads, are not a service of the Recital Hall Office. Simple fliers can be assembled for faculty recitals by request on a case-by-case basis if there is sufficient time and student help. However, any brochures, fliers, or posters containing any publicity information concerning an event scheduled in the Recital Hall, mailed to any mailing list or distributed across the campus or to the public must be also sent simultaneously to the Recital Hall Manager.

RecordingIn order to secure audio recording services, a Recording Request Form must be submitted for all School of Music performances, including major music ensembles, faculty chamber ensembles, faculty recitals, and graduate and undergraduate recitals. These forms are available from Joanie Herbert and must be submitted by the three-week forms return deadline. Technicians and equipment will be assigned by the recording area on a “first-come, first-served” basis, unless the performance demands of a major ensemble or faculty performance require special equipment.

There are no fees assessed for technicians for music ensembles, faculty chamber ensembles or faculty recitals for the initial recording materials (i.e. CDs). Any ancillary recording services such as multiple copies and editing are also available on a “first-come, first-served” basis, but the faculty, graduate, and undergraduate recitalists must pay the technician’s fees.

Any questions regarding recording forms should be addressed to Joanie Herbert. Questions concerning technicians, equipment, and recording fees should be directed to Terry Solomonson.

Stage SetupFor all events except large ensembles and solo ensembles, a diagram of desired stage set up should be attached to the Event Scheduling form and returned by the forms deadline. The sketch should include what is expected to be used in the Recital Hall during the performance: chairs, stands, podium, risers, piano, etc., with set changes listed in program order and labeled by the music titles. A copy will be given to the scheduled stage crew worker(s) and posted back stage during the performance.

Performances that require heavy equipment being moved to the Recital Hall (such as the harpsichord) require the filing of a Service Request with Physical Plant at least two weeks in advance so that the moving can be accomplished. Equipment moves for performances in the Union must be coordinated with Physical Plant and the Union, and supervised by music personnel at both departure and receiving plants.

Joanie Herbert should be notified and be sent copies of service requests of all equipment moving plans for events scheduled in the Recital Hall. The person in charge of the performance is responsible for arranging for the return of all

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equipment to its original place immediately following the performance, or before 8:00 a.m. the next morning.

11.7 – SUBMISSION OF RECORDINGS TO THE MUSIC LIBRARY

NASM requires that recordings of all required student recitals be archived in the Music Library. Faculty submitting those recordings and/or faculty recital or ensemble recordings to the Music Library are asked to label each one clearly in pen or typed to include: name of performer or ensemble; date of performance; number of recordings if the performance required more than one.

11.8 – SCHOOL OF MUSIC CALENDAR SCHEDULING ORDER

Spring Semester1. Special Events: New Music Festival, Jazz Festival, Showcase of Bands,

Auditions, IMEA District IV Music Festival, Conferences hosted by WIU School of Music, Madrigal Dinner, Marching Band Classic, IMEA District IV All-State Choral Workshop.

2. Ensemble Concerts and Tours: Wind Ensemble, Concert Band, Orchestra, University Singers, Concert Choir, Madrigal Singers, Opera Workshop, JSO, Jazz Bands, Vocal Jazz, Percussion Ensemble, Steel Band, Brass Ensemble.

3. Faculty Chamber Ensembles: Camerata Quintet, Julstrom Quartet, and Lamoine Brass Quintet, WIU Hopper Jazztet

4. BCA Events including the Faculty Chamber Series 5. Faculty Solo Recitals6. Faculty Guest Recitals7. Studio Recitals 8. School of Music field trips9. Preparatory Division Recitals10. Students wishing to perform during the first six weeks of the fall semester11. Student Organizations12. Outside Guest events as approved by the Director of the School of Music

Fall SemesterThe calendar is open for student sign-up the second week of school during the fall semester. (See 11.4 Scheduling Student Recitals).

12.0 – PRE-COLLEGE MUSIC PROGRAMS – The Preparatory Department was disbanded in the 2003-2004 Academic Year. A faculty task force studied the feasibility of reinstating such a program and what specific curricular connections should exist if it is reinstated. The program was not reinstated.

12.1 – PURPOSE

To provide a laboratory of pre-college pupils to support observation and student teaching experiences for university students enrolled in pedagogy programs.

To support, through pupil tuition, the offering of graduate assistantships beyond those allocated to the School of Music.

To provide a model of excellence for in-service teachers in the west-central region of the state.

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Tangentially, these programs also provide a public service to the Macomb region when qualified teachers are not available in the community. School of Music programs should not compete with independent teachers, but rather encourage and support the establishment of enough qualified teachers to fill the needs of the community.

12.2 – DUTIES OF DIRECTORS Coordinate the curriculum and select core teaching materials to be used Determine program operating policies and communicate same to

teachers/parents Initiate, annually, paperwork for reappointment of staff and graduate assistant

teachers Recruit, test, and schedule pupils for lessons and classes Assign teaching duties to staff teachers and graduate assistants Design, print, and distribute the annual program calendar Determine, collect, and deposit tuition fees, keeping accurate financial records Plan and schedule recitals and other special events Supervise the keeping of accurate and complete pupil records

12.3 – OPERATING POLICY

One full-time “permanent” staff person for teaching pre-college level pupils may be re-appointed as a temporary employee annually. This person is essentially an independent studio teacher given the privilege of using state facilities in exchange for allowing WIU students to observe and practice teach.

Other tuition income should be made available for Graduate Assistantships or for qualified undergraduate student teachers. Program size should be limited to teaching staff (one permanent plus Graduate Assistants or student teachers) available. Any deviation from this must have approval of the School of Music Director before teaching is offered to additional non-WIU students or faculty. Additional staff teachers, if approved, should not earn in excess of $9,000 per year.

Assignment and evaluation of pre-college teaching staff is the responsibility of the Director of the program. Assignment of the Director is the responsibility of the School of Music Director and evaluation of the Director is the responsibility of the School of Music Director and the Music Personnel Committee.

WIU faculty member teaching and director duties beyond those listed above should be compensated through tuition fees received. Paperwork supporting “Extra Compensation” salary should be presented to the School of Music Director.

Graduate Assistantships in pre-college teaching may be offered to the extent that they can be supported by tuition income. All recommendations for graduate assistantships should be made to the Graduate Advisor. A full graduate assistant may be assigned 15 hours of work per week, part of which may be deemed teaching-preparation time.

Qualified undergraduate student teachers may be compensated as “Student Help” for teaching done that is in addition to or apart from assignments for which they are being granted university credit. All such Student Help must be funded by the pre-college program budget. Recommendations for student teachers should be made to the Music Office so that the appropriate paperwork is completed.

Student teachers should not receive compensation for teaching that is done as a pedagogy class or practicum assignment for which they are earning university credit. WIU faculty should not receive compensation for teaching done as demonstration that is included in a pedagogy load assignment.

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To insure that enrollments are sufficient to cover faculty, staff, graduate assistant, and student help contracts, make an initial request that is conservative and then, after the beginning of the semester (when enrollments are stabilized) request supplemental salary to cover the difference between the minimum contract and any teaching done in excess of the minimum contract. Remember that contracts can be issued for one semester at a time to better guarantee the availability of sufficient funds.

Tuition is deposited in the Fine Arts Public Service Account in the Dean’s Office. Since instructors who are under contract are paid from this account, tuition deposits must be sufficient to cover monthly payroll. It is the Director’s duty to keep the accurate financial records needed to support payroll and other expenses.

Balance of income after paying teacher salaries may be used to support the program operating expenses including purchase of equipment, music, teaching materials, office supplies, teacher training and development expenses, printing and advertising costs, and miscellaneous expenses. All purchases and other financial transactions must follow WIU Business Office procedures. Prepare Direct Pay Authorizations or Purchase Requests and present them to the College of Fine Arts secretary for processing.

Minimal and occasional use of the School of Music office supplies, copy service, telephone and postage service is allowed. Large mailings and/or extensive long-distance telephoning must be funded from the program budget. The Director should furnish the School of Music Director budget projections for the following year at the time requests for teacher contracts are submitted, and income/expense summaries at the close of each fiscal year.

Classes and lessons given as part of the program should normally be open and available for observation by WIU students, staff, and regional teachers.

13.0 – GRANTS

13.1 – OUTSIDE SOURCESSources outside of School of Music operating budget should be energetically and systematically explored. The WIU Office of Sponsored Projects is there to help faculty determine sources and guide proposal writing for off-campus grants. Reminders of deadlines and copies of guidelines are furnished periodically by the Music Office. Music faculty members have enjoyed good success when making application for the on-campus programs listed below. Catherine Null is the contact in the College for grants information and is available to assist faculty in the application process.

13.2 – VISITING LECTURE REQUESTSThese Grants, available through Student Activity Programs, help fund bringing guest artists to campus. Because of budget constraints, only one request will be funded from an organization or department per semester (not to exceed $400). A number of student organizations in the School of Music have served as sponsoring organizations.

13.3 – WIU FOUNDATION FACULTY DEVELOPMENT GRANTSThe coordinated grant proposals fund special projects related to instruction. Guidelines are issued annually with deadlines usually in October and February. WIU Foundation Funding Priorities are:

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1. Proposals designed to have a positive effect in the area of enrollment. 2. Proposals designed either to increase academic standards, or maintain

quality standards; 3. Proposals designed to support the improvement of instruction, and 4. Proposals designed to support meritorious research that impacts positively

upon several areas of the University.

13.4 – PROFESSIONAL TRAVEL GRANTSSpecial funds in the Provost Office may be requested to support professional faculty travel beyond funds available through the School of Music budget. http://www.wiu.edu/CITR/fac_travel/

13.5 – FACULTY RESEARCH GRANTSUniversity Research Council support is intended to promote research or its scholarly equivalent in appropriate fields by providing “seed” money for the initiation of new projects. The URC should not be viewed as a funding source for research projects that are one-time only, ongoing, or in their final stages. Priority will be given to those proposals which are likely to result in external funding and publication in peer-refereed journals, exhibitions, or performances. Some emphasis is given to assisting new faculty in beginning their research activities. Applications are usually due in early October and March.

13.6 – SUMMER STIPENDSThe WIU Foundation, in conjunction with the Faculty Development Office and the University Office of Sponsored Projects, awards up to five summer stipends in the amount of $3,000 each for summer. These grants provide opportunities for faculty to engage in projects leading to the enhancement of the individual faculty member in the areas of teaching, research, and creative activity. While teaching, research, and creative activities are expected of every faculty member, the summer stipend is intended to allow faculty to pursue projects well beyond those which can normally be pursued during the academic year. Proposals are encouraged in a wide range of categories including, but not limited to, the following: Research leading to publication or research required to prepare applications to

external granting agencies Development of a significant curriculum proposal Creation of work leading to a performance or exhibition Mastery of a new instructional technique

13.7 – PERFORMING ARTS SOCIETY GRANTS

PERFORMING ARTS SOCIETY ACADEMIC SUPPORT PROGRAMS

General InformationThe purpose of this organization shall be to assist College of Fine Arts and Communication in the raising of funds to support arts programming through the Youth Performing Arts Series, the Bureau of Cultural Affairs, the Faculty Recital Series, and other programming centered around the arts at Western Illinois University. The Performing Arts Society will provide structural support for the Performing Arts Center and its programs. Activities shall include community and audience development, fund-raising, providing a social atmosphere for cultural activities and increasing the public awareness of the need and value of the performing arts. (PAS Bylaws)

In keeping with the mission of the Performing Arts Society an Academic Support Program (PASASP) has been established to support academic programs, projects and/or events that enhance the arts at Western Illinois University.

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Eligibility

1) Applicants can only be faculty or staff from the College of Fine Arts and Communication.

2) Awarded applications are those that benefit students and/or the community and are tied to an academic program

3) Awarded applications are those that promote excellence in the performing and visual arts, providing a social atmosphere for cultural activities and increasing the public awareness of the need and value of the arts.

4) A report on the use of funding and the benefits to the program are required upon completion.

5) Funding cannot be used to pay travel and stipends to WIU employees6) Special consideration will be given to those proposals that include matching

funds from department, college, university, or some other entity.7) All facets of the application must be completed to be eligible for consideration.

Required Items and Attachments

Applications must include the following:

1) Statement regarding description and justification for the request. 2) Detailed description of how the request benefits the program, unit and/or

students, and/or community.3) Detailed description of how the request meets the goals of the academic unit

and/or the strategic plan of the university4) Description of how the request might benefit the mission and goals of the

Performing Arts Society. 5) Attached budget with a narrative explanation of each budget item and its

purpose. 6) Submit both electronic and hard copies of the application to the Dean’s office by

the deadline. PAS Academic Support Program Proposal Review Committee. The purpose of the committee is to review funding proposals from college entities and make recommendations to the PAS Board of Directors for approval. This committee shall be a standing committee of PAS. The committee will be comprised of five members elected from the PAS Board of Directors. The vice President of PAS shall serve as the chair of the committee and as liaison to the Executive Committee. The committee shall recommend to the PAS Board of Directors each year an annual amount of funding to be allocated under the program. Applications for funding will be awarded to programs that meet all criteria, submit a complete application, and are positively reviewed by the committee. All proposals are subject to review and approval by the PAS Board of Directors. Awards from the PASASP will not exceed $8,000 annually and can be renewed for one year. For an award to be renewed, grantee must submit an interim report addressing how the funds were used and what benefits were derived. The board may then vote on a motion to renew the award for an additional year. Deadline Applications must be received by the Dean’s office on or before February 1st of each year to be eligible for the following academic year.

Approved: October 3, 2006Updated: 8/ 2012

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Performing Arts Society Academic Support ProgramApplicationName _______________________________________________ Date________________Name of Organization/Affiliation ______________________________________________Email _____________________________________Phone Number ___________________Please review the Academic Support Program guidelines and answer the following questions.Description of the request/project:Description of how the request will benefit the program, students, and/or community and the goalsof the academic unit or strategic plan of the university:Description of how the request will meet the mission and goals of the Performing Arts Society:Attach a detailed budget with an explanation of each budget item and its purpose, to include:Amount requested ______________Contractual ______________Equipment ______________Other ______________Submit electronic and hard copies of the application to the dean’s office by February 1, 2014.

Approved: October 3, 2006

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14.0 – PROFESSIONAL STATUS14.1 – RETENTION, TENURE, AND PROMOTION

Matters relating to retention, tenure, and promotion are detailed in the Faculty Agreement: 2007-2011 between the University Professionals of Illinois Local 4100 and the Western Illinois University Board of Trustees. School of Music Evaluation Criteria can be found as Appendix III.

14.2 – DEPARTMENT PROCEDURES

Please see Appendix III for procedures, schedule, and other details related to promotion, retention, and tenure.

Two entities provide evaluation at the School of Music level: The Music Personnel Committee (MPC) reviews all files for promotion, retention, and tenure, and provides a written evaluation/recommendation. This group is elected by all bargaining unit faculty in the School of Music. The School of Music Director also provides a written evaluation/recommendation. See Appendix III for details.

Formal recommendations from each level of evaluation are placed in each faculty member’s Official Personnel File in the Provost’s Office. Eventually, application materials are returned to the applicant.

14.3 – PERSONNEL FILES

Working files for music faculty are maintained in the Music Office. Official Personnel files are kept in the Provost’s Office. If you wish to have anything placed in your file you should submit it to the School of Music Director and also directly to the Provost’s Office (indicate Personnel File) as appropriate.

15.0 Musicians Health and Safety

Musician Health and Safety

The following resources contain best practices related to health and safety in musical settings. These are links to research-based strategies for maintaining personal health and safety within the contexts of practice, performance, teaching, and listening. Students, faculty, and staff are encouraged to supplement the resources below with professional information that is specific to their particular areas of music activity.

Protecting Your Hearing Health

NASM-PAMA Student Information Sheet on Noise-Induced Hearing Loss (pdf) OSHA: Noise/Hearing Conservation Hearing Loss Decibel Levels Noises and Hearing Loss

Musculoskeletal Health and Injury

The Role of Rest, by Ralph A. Manchester (pdf) A Painful Melody: Repetitive Strain Injury Among Musicians, by Tamara Mitchell (pdf)

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Repetitive Stress and Strain Injuries: Preventive Exercises for the Musician, by Gail A. Shafer-Crane (pdf)

MusiciansHealth.com

Psychological Health

Performance Anxiety (WebMD) Conquering performance anxiety from inside out, by Helen Spielman (pdf) A Soprano on Her Head: Right-Side-Up Reflections on Life and Other Performances, by

Eloise Ristad

Equipment and Technology Safety

Students working in the COFAC Recital Hall must complete a training session on how to safely move the grand pianos on stage. Contact Joanie Herbert for information.

Students working as audio/recording technicians must complete a training session on how to safely use the sound system and recording equipment. Contact Terry Solomonson for information.

NOTE: It is important to note that health and safety depend largely on personal decisions made by informed individuals. WIU has health and safety responsibilities, but fulfillment of these responsibilities cannot and will not ensure any individual's health and safety. Too many factors beyond WIU's control are involved. Each individual is personally responsible for avoiding risk and preventing injuries to themselves before, during, and after study or employment in WIU School of Music. The policies, protocols, and operational procedures developed by the School of Music do not alter or cancel any individual's personal responsibility, or in any way shift personal responsibility for the results of any individual's personal decisions or actions in any instance or over time to the University.

APPENDIX I

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SCHOOL OF MUSIC WORKLOAD EQUIVALENTSFOR TEACHING, ADVISING, AND OTHER DUTIES

2010-2015 WIU/UPI Agreement

Approved by Music Faculty October 2007

I. Article 18 (Agreement 2010-2015, Faculty Responsibilities and Assignment of Duties), 19 (Summer Session), and 16 (Distance Education) address issues of workload. Except as defined herein these articles shall be used to define the assigned duties of faculty.

II. An important consideration of workload is Article 18(College Workload Equivalents). This Article permits for the approval of special and unique equivalencies. Please note that such workload equivalencies require submission of a request to the Provost for approval after discussion with the Dean and Union Chapter president.

It is anticipated that such workload equivalencies will require regular, semester-by-semester, authorization. In the event that a College workload Equivalency becomes routinely required, such equivalencies will be made part of the approved additional workload equivalents under Article 18.

III. For purposes of determining workload (Article 18, University Workload Equivalents) the following general rules shall apply:

A. Twenty-two ACEs shall be the maximum workload for two semesters.

B. On the tenth day of the Fall Semester, the workload for the fall semester shall be fixed. This load for the semester may be as small as 9 ACEs or as large as 13 ACEs but cannot exceed 22 ACEs for two semesters without payment of overload or assignment of Professional Achievement Award (PAA) points. On the tenth day of the spring semester the annual workload for a faculty member shall be fixed.

IV. One-semester sabbatical leaves shall be counted as an 11 ACE equivalency. Full-year, half-pay, sabbatical leaves also count as an 11 ACE equivalency.

V. The approved workload equivalents for Music for the Agreement, 2010-2015 are as follows:

A. Mass Lecture (18.2.a) A mass lecture shall be a course with more than 110 students.

B. Preparations (18)

Two of the following courses will count as one preparation, and three of the following courses shall count as two preparations for the purposes of Article 18.3. These are 1 and 2 SH courses that meet for 1 or 2 contact hours receiving 0.85 or 1 ACE per contact hour.

MUS 065, 080, 130, 131, 132, 133, 134, 135, 136, 137, 138, 141, 151, 161, 162,231, 261, 165, 166, 183, 184, 254, 255, 261, 262, 263, 265, 266, 283, 284,330, 331, 332, 337, 355, 365, 367, 392, 393, 395, 396, 397, 430, 451, 452, 460, 461, 462, 463, 464, 465, 466, 492, 493, 494, 495, 496, 497

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The following courses will count as one prep each: MUS 181, 182, 281, 282

This section and Article 18 refer to different preparations in a year.

C. Touring of Ensembles (Article 18)Wind Ensemble 0.5 ACE* in semesters when tour occursUniversity Singers 0.5 ACE* in semesters when tour occursOrchestra 0.5 ACE* in semesters when tour occursJazz Studio Orchestra 0.5 ACE* in semesters when tour occursMarching Band 2.0 ACEs* public presentations in fall semester

*Does not include ACEs for scheduled rehearsals.

D. Undergraduate Advising (18)Undergraduate Advising shall be pro-rated as follows:

1 - 8 students = 0.5 ACEs per year9 – 16 students = 1.0 ACEs per year17 – 24 students = 1.5 ACEs per year25 – 32 students = 2.0 ACEs per year33 – 40 students = 2.5 ACEs per year41 – 48 students = 3.0 ACEs per year49 – 56 students = 3.5 ACEs per year

When music minor advisement is required, it will be performed by the Assistant

Director of the School of Music as part of his/her assigned duties.

E. Graduate Advising (Article 18)Faculty shall receive 0.125 ACEs per actively enrolled graduate students

advised. To be actively enrolled a student must have enrolled in at least one course towards their degree in the past 12 months.

(note: Summer advising to be addressed in PAA points system)

F. Assistant Director of the School of Music3 to 7 ACEs per semester, depending on workload responsibilities

G. Directors of Ensemble Areas and Preparatory Programs (Article 18)Faculty assigned to direct ensemble areas and other special programs shall

receive the following ACEs:

Director of Bands 2.0 ACEs per semesterDirector of Choirs 2.0 ACEs per semesterDirector of Jazz Studies 2.0 ACEs per semesterDirector of Orchestras 2.0 ACEs per semester

H. Assistants to the Director of the School of Music for (Article 18):

1. Recording 2.0 ACEs per semester 2. Equipment/Property Control 0.25 ACE per semester (string

instruments) 3. Undergraduate Mid-Career Assessment 0.5 ACE per semester

I. Graduate Studies Coordinator (Article 18) 0.5 ACE per semester

J. Area Coordinators 0.5 ACE per semester

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Strings, Wind/Percussion, Keyboard, Voice/Choral, History/Humanities, Theory/Composition (Article 18)

K. Professional Program Directors (Article 18):

Music Business 0.5 ACE per semesterMusic Education 1.0 ACE per semesterMusic Therapy 0.5 ACE per semester

L. Percussion Equipment Management and Maintenance (Article 18)

Concert percussion 1 ACE per semester Marching & Jazz percussion 1 ACE per semester

M. Special Course Equivalencies (Article 18)Given the unique nature of the music courses this item addresses course

load requirements by class and student specification.

1. Non-credit Assessment Courses

MUS 300 (Student Teaching Review) will be credited .25 ACE per semester

2. Applied StudyMUS 204-229, 404-429, 504-529, will be credited with 2/3 ACE (0.67) percontact hour per week for scheduled lessons (based upon applied load reports due to the School of Music Director by the 10th day of the semester).

Seminars, studio classes, student recitals, studio placement auditions, and juries are parts of the students contact, preparation, and evaluation for Applied Study, and will not be credited with extra ACEs. Such activities may be evidence of teaching excellence as provided for in the School of Music Criteria.

3. EnsemblesMUS 101-118, 121-129, and 501 will be credited with 2/3 ACE (0.67) per contact hour per week for scheduled rehearsals. MUS 108, 109, and 118 will be credited with up to 5 contact hours according to need and circumstance (@ .67 ACE per contact hour).

4. Lecture CoursesUnless indicated below, all courses that meet for one contact hour per week per student credit hour will be credited with 1 ACE per contact hour per week

a. Lecture Equivalent CoursesThese courses shall be credited with 1 ACE per contact hour per week.

They are similar to lecture courses in their requirements for preparation of lesson plans, structuring of instruction, testing and grading, and student use of instructors' out-of-class time.

MUS 181,182, 281, 282 (Music Theory I, II, III, IV) 3 ACEs MUS 183, 184, 283, 284 (Aural Skills I, II, III, IV) 2 ACEs

MUS 132, 133, 134, 135, 136, 137, 138(Techniques Courses) 2 ACEs

b. Lecture-Applied CoursesThese courses shall be credited with 0.85 ACEs per contact hour

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per week. They are similar to lecture courses for about half of the preparation and instruction time, and similar to applied courses for the other half. (Some of these courses are 1 SH for 1 contact hour, some are 1 SH for 2 contact hours, and some are 2 SH for 2 contact hours.)

MUS 065 (Remedial Piano) 1.7 ACEs MUS 080 (Basic Music Skills) 1.7 ACEs

MUS 165, 166, 265, 266 (class piano) 1.7 ACEsMUS 167 (intro to jazz piano) 1.7 ACEsMUS 162 (class voice) 1.7 ACEsMUS 161, 261 (class guitar) 1.7 ACEsMUS 187 (Jazz Fundamentals and Theory) 1.7 ACEsMUS 254 (Materials & Methods in Music Therapy) 1.7 ACESMUS 255 (Music Therapy Clinical Skills I) 1.7 ACEsMUS 267 (Jazz Improvisation I) 1.7 ACEsMUS 355 (Music Therapy Clinical Skills II 1.7 ACEsMUS 365 (Keyboard Skills) 1.7 ACEsMUS 367 (Jazz Improvisation II) 1.7 ACEsMUS 460(G) (Chamber Music Lit. and Tech.) 1.7 ACEs

c. Internship and Field Supervision These courses shall be credited with .2 ACEs per student for supervision

that does not involve travel outside of Macomb or .3 ACEs per student for supervision that does involve travel outside of Macomb. In addition, a scheduled hour of lecture will be credited with 1 ACE.

MUS 241, Music Business Practicum .1 ACE per studentMUS 258, Practicum in Music Therapy 1.0 ACE + 0.2 ACE per studentMUS 457, Music Therapy Internship 0.2-0.3 ACE per studentMUS 458, Practicum in Music Therapy 1.0 ACE + 0.2 ACE per studentMUS 442, Music Business Internship 0.2-0.3 ACE per student

d. Evaluation of Teaching Certification Portfolios (18.18)10 portfolios = 0 ACEs [per academic year]11 or more portfolios – 0.5 ACEs for each five portfolios or fraction thereof

e. Student TeachingStudent Teaching Coordinator 1.0 ACE per semesterStudent Teaching Direct Supervision 0.3 ACE per student

Student teaching supervision in the School of Music is a necessary supplement to the supervision that students get from the College of Education resident supervisors. Departmental supervision comprises two sets of responsibilities, Coordination and Direct Supervision.

Coordination involves:• Site selection and placement in coordination with the College of Education• Coordination with cooperating teachers• Coordination with College of Education resident supervisors• Overseeing assessment procedures – reviews, portfolios, acceptance into

Senior Division• Overseeing student completion of appropriate applications and

recommendations• Organizing a student teacher seminar each semester

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Direct Supervision involves:• Monitoring and evaluating each student teacher's development, progress,

and performance through phone calls and (on average, 3-5) site visits• Maintaining liaisons with resident supervisors and cooperating teachers • Developing and revising observation procedures• Developing contacts that may lead to new sites for future placements

Pre-Student Teaching clinical experiences are currently a part of MUS130, 231, 232, 330, 331, 333, 334, 335, 336, and 395. Supervision of those experiences is included in the load credit assignment for those courses. If the College of Education delegates any additional pre-student teaching responsibilities to the School of Music, those workload equivalents will have to be defined.

f. Pre-college Teaching Unit A faculty will not be assigned to pre-college teaching except for the

minimum necessary for observations as provided in the DWE section on pedagogy courses.

N. Faculty Chamber Ensembles (18)

Each ensemble will rehearse a minimum of two hours per week, perform once a year in the Faculty Chamber Music series, provide other incidental performances as appropriate, and schedule performance tours of high schools for recruitment once a semester.

1. Camerata Woodwind Quintet 1.0 ACE per semester

2. Lamoine Brass Quintet 1.0 ACE per semester

3. Julstrom String Quartet 1.0 ACE per semester

4. Hopper Jazztet 1.0 ACE per semester

O. Tutored Study (Article 18) Courses offered as tutored study (Article 18 and definition on p. 5) will be credited with .1 ACE per student per credit hour for undergraduates and .2 ACE per student per credit hour for graduate students. This is a straight prorating of ACEs for 10 undergraduates or 5 graduate students in a course. (Examples: A 3 SH course with 10 undergraduates will receive 3 ACEs; the same course with 5 undergraduates will receive 1.5 ACEs. A 3 SH course with 6 undergraduates and 2 graduates will receive 3 ACEs; the same course with 4 undergraduates and 1 graduate will receive 1.8 ACEs.)

Lecture Equivalent courses as listed in L.4.a. above and Lecture-Applied courses as listed in L.4.b. above will not convert to tutored study.

P. Faculty members assigned to oversee, collect and/or analyze data, write reports, or otherwise to be involved in Program Accreditation (18.20) will be awarded 1-3 ACEs per academic semester based upon the level of their involvement in the accreditation process.

APPENDIX II

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SUMMER ROTATION POLICY: WIU SCHOOL OF MUSIC2010-2015 WIU/UPI Agreement

A. Formation of the Rotation Order1. In order to ensure that all tenured/tenure track employees in the School of Music

have equal access to the School’s summer session employment, a rotation list was originally established by seniority. New faculty and former department chair names are placed at the bottom of the list with the former department chair coming before the new faculty if s/he rejoins the faculty in the same semester as new faculty. In the event of more than one new faculty member in a given year, the order of appearance shall be determined by date of the offering letter.

2. When a faculty member has accumulated a total of three ACEs of summer teaching/primary duties within three consecutive summers or less, his/her name is placed at the bottom of the rotation list.

3. If a faculty member fails to request or declines a summer assignment, his/her position in the rotation will be unaffected.

B. Eligibility for Summer Assignment1. Tenured/tenure-track faculty have priority in summer teaching assignments.

Associate Faculty have priority over temporary and part-time employees in the award of summer session appointments. Associate Faculty and temporary employees may receive School of Music assignments only after all faculty on the tenured/tenure-track list, who qualify according to program needs, have been offered a full load (3-4 s.h. assignment). Before tenured/tenure-track faculty are offered an additional assignment which would take them over the 3-4 s.h. full load, Associate Faculty and temporary employees will be offered one, as long as program needs are met.

2. Faculty who have resigned or are retiring are not eligible for summer assignment if the dates of such assignment are after the date of resignation or retirement. 3. Faculty on terminal contract are not eligible for summer employment.

C. Factors Employed for Determination of Summer Assignment 1. Curricular/Program needs are considered first; then the summer rotation list is consulted for the assignment of faculty. Faculty expertise is a prime consideration in making the assignment, and faculty qualifications are determined by the School of Music Director in consultation with the faculty.

2. Faculty assignments affected by this policy include on-campus and off-campus classes, summer, inter-session, and extension classes. Continuing Education ISP courses and assignments funded by external grants/contracts are not counted for rotation purposes.3. Summer internship supervision, student teaching supervision, and advising may

be assigned to those faculty who normally perform such duties, irrespective of the rotation plan. A faculty member who accumulates three ACEs of such assignment in three consecutive summers will be rotated to the bottom of the list. Such assignments will be compensated at the rate determined by the School of Music Workload Criteria. (Article 29)

4. A faculty member who teaches a low-enrollment course and is paid at the reduced rate specified in Article 29 will not have that course counted toward his/her accumulation of summer ACEs.

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5. Faculty with ten-month or more appointments will not be considered for summer teaching until all qualified faculty with nine-month contracts have declined the assignment.

APPENDIX III

DEPARTMENT CRITERIA FOR RETENTION, PROMOTION, AND TENURESchool of Music, Western Illinois University, 2010-2015

Page

I. School of Music Personnel Committee 2

II. Educational Requirements for Tenure 3

III. Materials and Methods of Evaluation 3

A. General Considerations 3

B. Teaching/Primary Duties 41. Role of Student Course Evaluations 42. Classroom/Studio/Rehearsal Observation 53. Peer Evaluations of Teaching Materials 64. Informal Observations/Evaluations 65. Additional Evidence of Teaching Effectiveness 76. Non-teaching Assigned Duties 8

C. Scholarly/Professional Activities 91. Types of Scholarly/Professional Activities 92. Means of evaluating quality 10

D. University/Community Service 111. School of Music Service 112. University Service 123. Community Service 12

IV. Performance Standards 12

A. General Considerations 12

B. Standards for Retention, Tenure, and Promotion 131. For Retention in PY 1 and PY 2 132. For Retention in PY3 133. For Retention in PY4 and PY5 and 14

For Tenure and Promotion to Associate Professor 144. For Promotion to Professor 15

V. Tenure or Promotion on the Basis of Exception 15

VI. Unit B: Associate Faculty Promotion to Assistant Professor 16

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DEPARTMENT CRITERIA FOR RETENTION, PROMOTION, AND TENURESchool of Music, Western Illinois University

Endorsed by Music Faculty vote – December 4, 2007

Preamble: It is the intent of the Board, the Union, and the School of Music to promote the quality and effectiveness of education at Western Illinois University and to promote high standards of academic excellence in all phases of instruction, research, and service. The Board, the Union, and the School of Music recognize that an effective and harmonious working relationship will facilitate achievement of common objectives and will provide an environment conducive to the delivery of a high quality education and, moreover, affirm that academic freedom and responsibility should not be abridged or abused.

All employees at Western Illinois University are expected to conduct themselves in an ethical manner. All faculty members are expected to adhere to the University's policies and regulations regarding professional behavior. Sanctions imposed for violations of employment obligations or professional ethics as specified in Board or University policy, rules, and regulations, or in the WIU/UPI Agreement, will be addressed with appropriate procedures as outlined in Article 21 of the WIU/UPA Agreement.

I. School of Music Personnel CommitteeA. Election

1. In the last two weeks of school each spring, all tenured faculty who are not scheduled for sabbatical or other leave will be automatically nominated for the MPC. The director will prepare a paper ballot that will be circulated with a due date of the third-to-last day of classes. All Unit A faculty will be eligible to vote, and may vote for up to seven candidates. The seven candidates who receive the most votes will be elected to the MPC. Each member of the MPC will have a term limit of three consecutive years. After three consecutive years of service on the MPC, a faculty member will not be eligible for election for one year. Additionally, the MPC and Director may co-opt an agreed upon tenured area representative in the primary specialty area of the applicant (or, when necessary, a related area) as a non-voting member for all PY, tenure, and promotion considerations.

2. Within a week of notification of the results of the election, the MPC will elect a chair from its ranks, and report the name to the faculty and the director.

B. The chair of the MPC may appoint a subcommittee of members of the MPC to help draft the narrative summaries for MPC decisions.

C. Faculty on the MPC will not evaluate themselves. No alternate will be selected to serve in his or her place.

D. The MPC will vote on each of the three areas for evaluation for each applicant. A majority of votes cast is required for a finding that the applicant meets the relevant standard in an area. An applicant must meet the relevant standard in all three areas for the MPC to make a positive recommendation for retention, tenure, or promotion. The MPC may vote by show of hands or by secret ballot, at its discretion. The MPC chair is entitled to a vote. An abstention is not counted as a vote cast. The MPC will hold at least one meeting for the purpose of discussing each application. A member of the MPC who is unable to attend the scheduled meeting may vote by sending a written vote to the MPC chair before the meeting. Only those members of the MPC who originally voted on a given application shall vote on an appeal of that decision.

E. Faculty on the MPC will not evaluate family members. No alternate will be selected to serve in his or her place.

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II. Educational Requirements for Tenure

A. Performance (instrumental, vocal, conducting) – M.F.A., or Masters plus 30 semester hours of graduate work relevant to the area of specializationB. Music Therapy – Masters plus 30 semester hours of graduate work relevant to the area of specialization

C. Music Business –Masters plus 30 semester hours of graduate work relevant to the area of specialization

D. All Other Areas – Earned doctorate (Please find doctoral equivalency information on page 19)

E. The nature of a faculty member’s classification must be clarified by the Director, in writing, at the time of hire.

III. Materials and Methods of Evaluation

[Categories of materials and activities appropriate for the School of Music to use in each of the areas for evaluation, and the relative importance of the materials and activities. (20.4)]

A. General Considerations

1. The School of Music recognizes that certain activities may fall under more than one category. Such activities may be cross-listed, as long as the narrative clearly indicates which aspects of the activity contribute to which category.

2. Every application for retention, promotion, and tenure must have a narrative statement that describes the applicant’s activities in the three categories for evaluation, how those activities meet the Department Criteria for methods and materials for evaluation, and how those activities meet the School of Music Criteria for the performance standards for the appropriate level.

3. The narrative is the applicant’s opportunity to explain to evaluators the importance of the activitiesand the ways in which the activities are evidence of effectiveness in the three areas.

4. The applicant should keep in mind that the narrative is to be read and used by evaluators at alllevels of the evaluation process, and not just at the School of Music level.

5. The narrative and outline of activities are considered to be the documentation of the activity.Pertinent supporting materials in the three areas may be required, encouraged, or permitted (as noted in the appropriate locations in the outline below), but all evaluators are not expected to examine all of those materials. (Evaluators may require additional support materials or evidence that an applicant has engaged in any activity listed.)

6. The outline of materials and methods of evaluation indicates ways in which the narrative should address particular evidence.

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7. The final paragraph(s) of the Teaching/Primary Duties narrative should address ways in which the activities presented in the Scholarly/Professional and Service sections of the portfolio inform the performance of teaching/primary duties.

8. The lists of examples of the types of activities, which might be submitted in the various categories of evaluation, are not intended to be prescriptive. Faculty members are not expected to be evaluated on all the items listed.

9. Optional external evaluations for tenure, associate professor, and full professor: Faculty applying for tenure, associate professor, or full professor have the option of submitting an abbreviated electronic version of their portfolio for evaluation by three external evaluators.

The applicant and Director will each suggest three possible evaluators; from this list of six professionals the external evaluators will be chosen in this order and number: one by the applicant, one by the MPC, and one by the Director.

The pool of evaluators should be full professors in the specialty area(s) of the applicant at comparable regional comprehensive universities. However, the applicant may suggest tenured faculty from any kind of college or university. If there are not enough full professors available, tenured Associate Professors will be considered. In order to provide an objective professional evaluation based on the content of the abbreviated electronic portfolio, the external evaluators selected should not have a relationship to the applicant that would create a conflict of interest or undermine the integrity of the process.

Application year timeline:

September 1 Notify the Director of the School of Music of intent to exercise external evaluation option.

September 30Complete required external evaluator list (including evaluator agreement to serve if selected).

October 15 External evaluators chosen by applicant, MPC and Director.October 31 Abbreviated electronic portfolio sent to external evaluators

(return deadline of November 30). December 1 External evaluations provided to applicant for inclusion in

Tenure/Promotion portfolio. For any reviews not received by November 30, the Director will contact the external evaluator(s) to follow up on the progress of the review. If for any reason, the external review is not received in the School of Music Office by January 5, the applicant may choose to omit that review from the Tenure/Promotion portfolio.

The applicant may abandon the external evaluation process at any time up to the date (October 31) the materials have been mailed. Once the abbreviated electronic portfolio has been sent to the external evaluators, the applicant is obligated to continue the process and include the external reviews in the Tenure/Promotion portfolio (exceptions as noted in the timeline). If the applicant misses any of the timeline deadlines, the external evaluation process will be aborted.

The abbreviated portfolio should include: curriculum vitae, syllabi and representative course materials, programs and a CD/DVD of live performances and/or examples of scholarly work and publications, and an outline of service activities. The external evaluators will be provided with a copy of the School of Music Department Criteria for tenure, promotion to associate professor, or promotion to full professor, and each evaluator will base his/her comments on this criteria. In particular, the external evaluators will be asked to comment on: (1) the way the course materials and syllabi

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represent appropriate coverage of the topics, the currency of the material, and the organization, and (2) the applicant’s “Adjudicated activity” in terms of the significance of the venue and the nature of adjudication involved, and the quality of the work presented according to prevailing professional standards. The service outline is provided for context, not for evaluation. The results of these external evaluations shall be used as a piece of evidence reflecting the applicant’s sustained maintenance of teaching skills and quality of scholarly work.

B. Teaching/Primary Duties 1. The Role of Student Course Evaluations

a. Due to the diverse nature of the kinds of teaching in the School of Music, no single evaluation instrument is adequate. Faculty may choose to use the School of Music instrument appropriate for the course (applied study, ensemble, or classroom course) or the Purdue cafeteria system. The cafeteria instrument that an instructor configures for a particular course must include at least five items in addition to the core questions, and the results of those items must be presented. Whichever evaluation instrument is chosen there must be a question included that rates the overall performance on the instructor for the class being evaluated.

b. The results of the student course evaluation shall be presented with a mean or median response and the distribution of responses for each item on the instrument. The results will also include an average of such means. Student comments from the evaluations must be included. The narrative shall indicate that the scale is a range from 1 to 5 with 5 high. The student course evaluations are the property of the university.

c. All faculty must submit student course evaluations for all courses taught.

d. For the purposes of applications for promotion, the combined enrollments in the undergraduate and graduate sections of any applied course (as identified in the catalog) will be considered one course.

e. The undergraduate and graduate sections of any Applied or Ensemble course may be combined for the purposes of course evaluation with the results reported as a composite.

f. Items on the evaluation instrument that deal specifically with that course and that instructor shall be considered as evidence of teaching effectiveness, while those that tend to compare instructors shall not be considered. Statistical data that indicate the mean of responses for each item on the evaluation instrument will be considered, while percentile rankings will not.

g. In using the numerical scores for Student Course Evaluations, where 3 is a neutral response, scores below 3 indicate a weakness. However, evaluators will acknowledge the inherent differences in form, content, or audience that might adversely affect a faculty member’s evaluation. [20.4.c. (1) (f)]

h. The integrity of the process of administering student course evaluations shall be respected and maintained. Student course evaluations are to be administered during the last three weeks of regularly scheduled classes each semester except in the case of team-taught/shared courses in which the course evaluation should be administered during the penultimate week of the portion of the course taught by the particular faculty member. Other exceptions might include ensembles whose activities do not extend over the entire semester. In these cases, the course evaluation should be administered during the penultimate week of the course activities. Exceptions to this schedule may be granted by the School of Music

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Director. Faculty shall not be present while students are completing evaluation forms or receive the completed course evaluations until after grades have been submitted.

i. Student evaluations are the property of the university. Faculty will be provided with a copy of the evaluation scores and all transcribed comments. The School of Music office will make every attempt to provide student evaluation results to faculty before the end of the first month of the semester following the administration of the evaluations.

j. Faculty shall be evaluated on the basis of more than one measurement of teaching effectiveness. Numerical scores on student evaluations shall not be the sole determinant in retention, tenure, promotion, and four-year appraisal recommendations. Evaluators should not render negative personnel decisions based on one or a few low scores or one or a few classes, but, rather, evaluators should interpret numerical scores from student evaluations in terms of clear and consistent “patterns” that have developed over the appropriate evaluation period (Article 20.11.b).

k. Solicited letters of reference from current students shall not be included as evidence of teaching effectiveness. Unsolicited letters from current students, as well as unsolicited or solicited letters from former students, may be included.

2. Classroom/Studio/Rehearsal Observation

a. Classroom/Studio/Rehearsal observation may be conducted by the School of Music Director, the Music Personnel Committee, or designated colleagues. In the case of the members of the MPC, or designated colleagues, feedback should be written. In the case of the Director, feedback may be verbal or written.

b. Peer Observation of Teaching: Faculty must have a minimum of two peer observations by tenured faculty for each PY evaluation. Over the period of PY1 to PY6, a minimum of two of those observations must be by the Director. Evaluations that document observations from more than one class period are recommended.

c. Additional peer observation of teaching may be commissioned by the MPC or School of Music Director, in which case the MPC or Director chooses the evaluator, or may be solicited by the instructor, in which case the instructor chooses the evaluator. The observations commissioned by the MPC or School of Music Director must be included by the applicant in the portfolio.

d. A larger number of observations will be considered to carry more weight than a single observation. An observation of a complete class period will be considered to carry more weight than observation of a partial class. A single observation that suggests problems with the teaching should trigger additional observations.

e. The observer may use, at his/her option, either:(1) A scripting or holistic approach to taking notes of the observation followed with a

written narrative report

(2) A double-entry log, with description of what the evaluator observes on the right side and reactions and reflections on the left, should be used for taking notes

(3) The written narrative should organize the observations and judgments of the evaluator according to the following prompts:(a) Organization

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(b) Variety and pacing(c) Knowledge of content(d) Presentation(e) Teacher-student rapport(f) Clarity

f. The notes from the observation remain the property of the evaluator, who should keep them until the final disposition of the personnel action for which they were taken. The written narrative or final checklist with comments will be provided to the faculty member within 3 weeks of the observation. This document must also be forwarded to the MPC, the Director of the School of Music, and will become part of the file.

g. The report of the observation will include: instructor; date and time of observation; course number; course title; level of students; number of students present; and the nature of the pre-observation information the observer obtained from the instructor. The observer will try to observe teaching that is representative of the instructor’s teaching.

h. The instructor will be permitted to attach a written response to the report of the observation, and that written response will become part of the record of the observation.

i. The Director will evaluate oral English proficiency as mandated by Illinois statute.

3. Peer Evaluations of Teaching Materialsa. The MPC may choose to review course materials that are included in the support

materials on its own as part of its total evaluation. Summative peer review of course materials may also be commissioned by the MPC or School of Music Director, in which case the MPC or Director chooses the evaluator, or may be solicited by the instructor, in which case the instructor chooses the evaluator. The MPC, School of Music Director, or evaluator may request additional materials from the instructor of for the purposes of review. The instructor is expected to cooperate with reasonable requests. The summative review may be of the materials of one course or of more than one course. The written report of the review and any written response to the review by the instructor will be included in the file.

b. At minimum, the materials reviewed will include the syllabus and major exams and project assignments. Instructor comments on student work may be included by the instructor, but shall not be required.

c. The results of the review will be in the form of a written narrative. The instructor will be given a copy of the report in a timely manner, so that the instructor will have an opportunity to attach a written response to the report of the review. The written response will also become part of the record of the review.

d. Faculty are encouraged to solicit peer evaluation of their teaching materials.

4. For the purpose of improving teaching effectiveness, mid-term student evaluations, informal observations of teaching by School of Music Director and/or peers, self observation (audio and/or video recording of classes, lessons, or rehearsals), and other similar types of activities solicited or performed by the faculty member, beyond those required for PY evaluations as indicated above, are encouraged and may be presented as evidence of the desire to examine and improve effectiveness of teaching.

5. Additional Evidence of Teaching Effectiveness

a. Evidence of command and currency in subject matter and ability to organize knowledge or material.

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(1) Evidence may be presented of developing, maintaining, and revising course materials, such as syllabi, reading lists, tests, study guides, reserves, web pages, and so on.

(a) A syllabus for each course taught in the appraisal period shall be included in the supporting materials. (For multiple sections or offerings of the same course, only one syllabus need be included.)

(b) The narrative should describe the way in which such materials are evidence of command of subject matter and ability to organize material. Selected course materials may be included in the supporting materials.

(2) Evidence of command and currency in subject matter may also be presented in the form of letters from colleagues.

(3) The quality of performing ability may be evaluated as evidence of command and currency in subject matter for teachers of applied courses.

b. Evidence of professional growth related to teaching.

(1) Attendance at workshops, seminars, Faculty Development events, travel, courses, conventions, clinics, symposia, private study, or other such events related to teaching may be presented.

(a) The narrative or outline should list the dates, locations, and nature of such events, but the support materials need not include programs or advertisements or handouts. Proof of participation, however, should be available if requested.

c. Evidence of professional growth related to subjects taught or cognate areas.

(1) Attendance at workshops, seminars, Faculty Development events, travel, courses, conventions, clinics, symposia, private study, or other such events related to subject or cognate areas may be presented.

(a) The narrative or outline should list the dates, locations, and nature of such events,

but the support materials need not include programs or advertisements or handouts.

Proof of participation, however, should be available if requested.

d. Evidence of application of new methodologies and technologies of instruction.

(1) The narrative should explain the new methodologies and technologies and their relationship to pedagogical goals.

e. Evidence of student success.

(1) Student success, such as performance on juries, recitals, and concerts, admissions to graduate programs, prizes, preparation for advanced course work, and so on, may be presented as evidence of teaching effectiveness.

(2) Results of student assessment may not be used in the evaluation of faculty performance (20.4.)

(3) Evaluators shall carefully consider a teacher’s responsibility for student success in evaluating such evidence.

f. Evidence of evaluation of student progress.

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(1) Effective teaching involves evaluating student performance and progress.

(2) Evidence of evaluation of student progress may include exams, assignments, listening to juries, organizing studio classes, attending recitals, convocations, and student ensemble concerts, and so on. Incorporating student writing in a course may be included.

(3) The narrative should describe the nature of evaluations used in teaching that are presented as

evidence.

g. Acquisition of materials.(1) Assisting or consulting in the acquisition of library materials, teaching materials,

technology, or equipment related to teaching.

h. Individual student activities.(1) Independent studies, thesis committees, thesis directing, student recitals, and so

on, for which ACEs are not assigned.

i. Distance Learning(1) The faculty member will provide course evaluations and a stamped envelope

addressed to the School of Music. A proctor will administer the evaluations at the distance education site, collect the evaluations, and mail the evaluations to the School of Music. If no proctor is available, the faculty member will provide a stamped envelope addressed to the School of Music and instruct all students to place their evaluation in the envelope and appoint one student to seal and mail the envelope to the music office. All costs associated with the evaluations will paid by the University.

(2) Evaluators will consider such factors as lack of personal contact between students and faculty, student discomfort with technology, faculty preparation for distance teaching, and the effect of problems with the technology when evaluating the effectiveness of distance teaching. Such factors beyond the control of the instructor will not be held against the applicant.

j. Other Evidence(1) Other evidence of effectiveness of teaching that is not described above may be

included. The narrative should indicate the nature of the evidence and its relevance to the evaluation process.

6. Non-teaching Assigned Duties

a. Advisingb. Director of Ensemble Program Assignmentsc. Area Coordinatorsd. Convocations Coordinatore. Assistants to the Directorf. Accompanyingg. Camerata Woodwind Quinteth. Julstrom String Quarteti. Lamoine Brass Quintetj. Hopper Jazztetk. Other Assigned Professional Activityl. For all non-teaching assigned duties, the outline shall include a comprehensive list of the assigned duties. For all non-teaching assigned duties, the written explanation of expectations under which the faculty member has been operating will be included in each portfolio. The file must present evidence of the effectiveness of the performance of

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these duties. The narrative should address the effectiveness of the performance of those duties, and should clearly distinguish between activities that are part of the assignment and activities that are not part of the assignment but should be evaluated as Scholarly/Professional Activity or Service.m. All evaluation portfolios must include the official final ACE sheet(s) for the evaluation period under consideration.

C. Scholarly/Professional Activities

1. Types of scholarly/professional activities

a. Publication(1) Book, chapter, article, review, translation, abstract, editorship, etc.(2) Composition/arrangement/transcription(3) Acceptance for publication may be listed, but actual publication and acceptance

for publication may not be counted as two items.

b. Performance(1) As performer(2) Of composition/arrangement/transcription(3) Ensemble directors who present more than one performance per semester for

any ensemble may list the additional performance(s) as scholarly/professional activity or as service, depending on the nature and function of the performance.

(4) Any evaluative critique by a peer of a colleague who is a conductor of a student ensemble must list the date that the evaluator actually heard the ensemble perform.

c. Presentation(1) Paper, lecture, panel discussion, clinic, workshop, chairing session, etc.

d. Recording(1) As performer(2) Of composition/arrangement/transcription (3) As producer/editor

e. Other Research/Creative Activity(1) Research that has not yet led to publication/presentation(2) Research in support of teaching, research in cognate areas, etc.(3) Composition/arrangement/transcription that has not yet led to

performance/publication

f. Adjudication(1) The narrative should describe the context and significance of the activity and its

relevance to professional achievement.

g. Participation in professional organizations(1) The narrative should indicate the extent and nature of the participation, including

whether the activity is at the national, state, or local level, and offices, positions and/or leadership roles.

h. Work in progress(1) For any work in progress, the narrative should indicate the nature and extent of

the work and its progress.

i. Technology(1) Any activity that involves technology and is equivalent to any of the creative,

research, and professional activities above, such as editing an electronic mailing

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list, authoring software, editing a journal on the Internet, or a web-based publication may be included.

j. Other Evidence(1) Other evidence of scholarly/professional activity that is not described above may

be included. The narrative should indicate the nature of the evidence and its relevance to the evaluation process.

2. Means of evaluating quality

a. Adjudicated activity – refereed, juried, invited, auditioned, selected, reviewed, etc.(1) The narrative and outline should indicate the significance of the venue (journal,

conference, orchestra, etc.; local, regional, national, international) and type of adjudication involved.

b. Non-adjudicated activity with non-WIU professional colleagues present(1) Includes recital, tour, symposium, festival, and so on.(2) May be on campus or away.(3) May be an activity arranged by the applicant.(4) The narrative should indicate the significance of the venue and the extent to

which the activity exposes the applicant’s work to non-WIU professional colleagues.

c. Non-adjudicated activity other than b., above(1) Includes recital, concert, lecture, workshop, and so on.(2) May be on campus or away.(3) The narrative should indicate how such activity supports professional interests of

the applicant and the mission of the School of Music.(4) The narrative should indicate the extent to which the activity provides WIU

professional colleagues opportunity to evaluate the work.

d. Written evaluation(1) Written evaluation of the quality of the applicant’s work may be solicited by the

applicant, the MPC, or the Director, or may be unsolicited. Written evaluation solicited by the MPC or Director will become part of the file, and will be provided to the applicant.

(2) Evaluators will consider the qualifications of the author, the opportunity to observe, and the type of activity observed or read when weighing the significance of written evaluations.

f. Performance

(1) Commonly accepted professional standards for quality of performance in the broad areas of technique and musicality shall be applied in weighing the evidence of direct observation of performance.

g. Recognition

(1) Grants(2) Citations, reviews(3) Commissions, fellowships, prizes, awards, listings(4) The narrative should indicate the extent and nature of national, state, or local

recognition of research/creative activity.

h. The size and nature of the teaching load of any applicant will be taken into consideration whenevaluating the quantity of scholarly/professional activity.

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j. Any activity that is not an assigned duty that draws on professional expertise belongs in the category of Scholarly/Professional Activity. The more an activity draws on professional expertise, the more it belongs. On the other hand, on-campus and community presentations that do not require new or extensive research should be included in Service.

(1) The narrative should clearly indicate how any ambiguous or cross-listed activity draws on

professional expertise.

D. University/Community Service

1. School of Music Service

a. Committees

(1) The narrative should describe the faculty member's involvement in terms of contribution, leadership, and time commitment.

(2) Certain School of Music committees are central to faculty governance at the School’s level, including Graduate Studies, Undergraduate Studies, Auditions/Talent Grant, Music Personnel Committee, Search Committees, Music Advisory Council, and Music Education.

(3) Other committees that may meet less frequently and have more limited agendas or responsibilities are Grade Appeals, Music Technology, and Convocation.

b. Recruitment

(1) In considering recruitment as a part of School of Music service, both efforts expended and results obtained shall be considered in a balance, which takes into consideration the unique challenges inherent to various recruitment specialties in the School.

(2) The narrative should fully describe the faculty member’s activities in the recruitment of potential students. Such activities might include telephone contacts, letters written, visits made, lessons/master classes given, conventions/exhibits participated in, guest recitals/clinics given, etc.

(3) In cases where extensive recruitment efforts have not resulted in subsequent student matriculation, the narrative could appropriately frame the challenges/circumstances that contributed to less-than-anticipated results.

(4) Each probationary faculty member who is required to include recruitment in Service shall develop a written Recruitment Plan in consultation with the Director. This plan must be included in the evaluation portfolio and will be used by evaluators as a guide in evaluating the effort and effectiveness of the recruiting activity in probationary and tenure evaluations. Demonstrated recruitment effectiveness is required for all applied faculty, ensemble directors, and program coordinators.

c. Sponsorship/Advising of Student Organizations

d. Faculty Mentoring/Peer Review

e. Other Committees and Activities

(1) Undergraduate Mid-Career Assessment

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(2) Commencements and Freshman Convocation (3) Accreditation and Program Reviews (4) Equipment Management

(5) Other evidence of School of Music service that is not described above may be included. The narrative should indicate the nature of the evidence and its relevance to the evaluation process.

2. University Service

a. University Governance Structures (Committees, etc.)(1) The narrative should describe the relationship between university service and the

faculty member’s professional interests or the importance of the service to the mission and interests of the School of Music. The narrative should also describe the faculty member’s involvement in terms of contribution, leadership, and time commitment.

b. Sponsorship of Student Organizations

c. Other University Service

3. Community Service

a. Given that so much of the School of Music’s professional activity involves the community, noparticular community service is expected.

b. Service related to the faculty member’s professional expertise may be included.

c. Activities such as consultation, clinics, adjudicating contests, and so on, that are service to schools, churches, and community groups should be listed as Scholarly/Professional Activities rather than Community Service to the extent to which they draw on a faculty member’s professional expertise.

4. The Service Activities listed above are broad enough in scope to allow faculty assigned to the WIU Quad-Cities campus to meet Service Activity requirements.

IV. Performance Standards

A. General Considerations 1. These performance standards refer to the methods and materials of evaluation described above.

2. These performance standards apply to all faculty members applying for retention, tenure, and promotion, regardless of whether they do or do not meet the years or service or educational requirements specified by the contract. Those faculty who do not meet the years of service and/or educational requirement specified for tenure and/or promotion, and are eligible to do so, may apply for promotion on the basis of exception. Please see “Tenure or Promotion on the Basis of Exception” page 18 of this document.

3. Evaluation for retention, tenure, and promotion, will be based on activities within the relevant evaluation period as defined in Article 20.

4. Teaching is the most important consideration in the total evaluation of any faculty member. Scholarly/Professional activity is the next most important consideration with service as the remaining consideration. These priorities are reflected in the specific standards below.

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5. The standards for assigned non-teaching duties are in addition to meeting the specified teaching standards. They may not substitute for or be averaged with the teaching standards.

6. Evaluation Periods: Evaluation for PY 1 will consider documentation for fall semester of that year. Evaluation for PY2 will consider documentation for spring semester of the first year (with a review of PY1 outline). Evaluation for PY3 will consider documentation for fall and spring semesters of PY2 (with a review of PY1 and PY2 outlines). Evaluation of PY4 will consider documentation for fall and spring semesters of PY3 (with a review of all previous years’ outlines). Evaluation for PY5 will consider documentation for fall and spring semesters of PY4 (with a review of all previous semester outlines). This system is presented in the chart below.

PY Year Semesters to be documented:1 Fall PY12 Spring PY1 (plus PY1 outline)3 Fall and Spring PY2 (plus PY1 and PY2 outlines)4 Fall and Spring PY3 (plus all previous outlines)5 Fall and Spring PY4 (plus all previous outlines)6 (tenure year) Fall PY1-Spring PY5

7. The evaluation period for promotion (to both Associate Professor and Full Professor) will include the employee’s entire record since the initial hiring date up to and including the date of submission of the promotion portfolio.

B. Standards for retention, tenure, and promotion

1. For retention in PY 1 and PY 2, a probationary faculty member is expected to have a minimum 3.0 average mean score on student evaluations for each class taught, and must demonstrate at least satisfactory performance and progress toward the PY3 standard. In PY 1and PY 2 only Teaching/Primary duties is evaluated. Faculty in PY1 and PY2 are required to submit plans for pursuit of Scholarly/Professional activities, and may list Scholarly/Professional activities for that evaluation period if applicable. Faculty in PY1 and PY2 will demonstrate at least minimal service in each evaluation period. Service activities, Scholarly/Professional activities, and plans for Scholarly/Professional activities must be included in the evaluation portfolio for written advisory comment from the Music Personnel Committee, School of Music Director, and College Dean. A non-retention decision in PY1 and PY2 cannot be based on Scholarly/Professional or Service activities. PY1 and PY2 written advisory comments are intended for the faculty member’s professional development, and shall not be used as a basis for personnel decision making in PY1 or PY2, or in future evaluation years.

2. For retention in PY 3, a probationary faculty member must demonstrate the following.

a. In the Area of Teaching/Primary Duties:(1) Command of and currency in the subject matter for every course assigned and

the ability to organize the subject matter in a clear and appropriate manner;(2) Effective presentation with evidence of effort to improve the effectiveness

of presentation

(3) Effective performance of the assigned non-teaching duties;(4) Demonstrated student retention effectiveness and studio development for applied

faculty;(5) Demonstrated student retention effectiveness and ensemble development for

Ensemble directors;(6) Minimum 3.0 average mean score on student evaluations for each class taught.

b. In the Area of Scholarly/Professional Activities:

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(1) Productive activity in one or more areas of specialization leading to opportunities for the professional work to be exposed to and evaluated by non-WIU professional colleagues in local or regional venues or beyond;

(2) Sufficient activity for the quality of the work to be evaluated (according to the procedures described in the methods and materials section of the

criteria);(3) Work of high quality, according to relevant prevailing professional standards.

c. In the Area of Service:(1) Involvement in a School of Music committee central to faculty governance

at the School’s level; and/or(2) Involvement in a School of Music committee with more limited agendas

and responsibilities; and/or(3) Demonstrated student Recruitment effectiveness that reflects implementation

and progress within the applicant’s Recruitment Plan.(4) Recruitment is required of applied faculty, ensemble directors, and program coordinators.

3. For retention in PY 4 and PY 5, the probationary faculty member must demonstrate at least satisfactory performance and progress toward the tenure standard. For tenure and promotion to Associate Professor, a faculty member must demonstrate the following.

a. In the Area of Teaching/Primary Duties:(1) The ability to maintain command of, currency in, and the ability to organize the

subject matter for every course taught;(2) Highly effective presentation;(3) Creation of a stimulating learning environment that is appropriate to the type of

instruction and conducive to learning.(4) Highly effective performance of the assigned non-teaching duties, which

demonstrates leadership and initiative.(5) Demonstrated student retention effectiveness and studio development for applied

faculty.(6) Demonstrated student retention effectiveness and ensemble development for

ensemble directors;(7) Minimum 3.75 average mean score on student evaluations for each class taught.

b. In the Area of Scholarly/Professional Activities:(1) A cumulative record of substantial activity in one or more areas of specialization

that includes adjudicated activity in significant regional venues. The minimum requirement for the areas of Music Education, Music History, Music Business, and

Music Therapy, shall be at least two refereed journal publications. However, if an

individual faculty member can demonstrate that another activity in the Scholarly/Professional area is of at least equal rigor and

importance to the discipline, evaluators may consider this activity as substituting for one of the publications.

(2) Work of high quality, according to relevant prevailing professional standards.(3) For applied performance faculty, the activity must include 3 on-campus solo

recitals.

c. In the Area of Service:(1) A cumulative record of departmental service;(2) Plus:

(a) Leadership in or significant contribution to departmental committee(s); or(b) University service germane to the faculty member’s professional interests

or to the department’s mission or interests; or

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(c) Substantial community service; or(d) Demonstrated student Recruitment effectiveness that reflects implementation and progress within the applicant’s Recruitment Plan.(3) Recruitment is required of applied faculty, ensemble directors, and program

coordinators.

4. For promotion to Professor, an Associate Professor must demonstrate the following.

a. In the Area of Teaching/Primary Duties:(1) Teaching skills that demonstrate continued command of, currency in, and

organization of the subject matter for every course taught, presented in a highly effective and stimulating fashion;

(2) Continued growth as a teacher;(3) Continued highly effective performance of the assigned non-teaching duties(4) Demonstrated student retention effectiveness and studio development for applied

faculty.(5) Demonstrated student retention effectiveness and ensemble development for

ensemble directors.(6) Minimum 3.75 average mean score on student evaluations for each class taught.

b. In the Area of Scholarly/Professional Activities:(1) Sustained record of substantial activity of high quality that includes adjudicated

activity in significant national venues. The minimum requirement for the areas Music Education, Music History, Music Business, and Music Therapy, shall be at least four refereed journal publications, two of which must have been published since promotion to Associate Professor. However, if an individual faculty member can demonstrate that another activity in the Scholarly/Professional area is of at least equal rigor and importance to the discipline, evaluators may consider this activity as substituting for one of the publications.

c. In the Area of Service:(1) A record of sustained involvement in School of Music service;(2) Plus:

(a) Leadership in or significant contribution to School of Music committee(s); or(b) University service germane to the faculty member’s professional interests

or to the School of Music’s mission or interests; or(c) Substantial community service; or(d) Sustained student Recruitment effectiveness

(3) Recruitment is required of applied faculty, ensemble directors, and program coordinators.

V. Tenure or Promotion on the Basis of Exception

The educational requirement for tenure is specified on page 2 of this document. The educational requirement for promotion is the same as the educational requirement for tenure (Article 20.9.a.2). An employee who does not satisfy the degree requirements or educational requirements for promotion may apply on the basis of exceptional Teaching/Primary Duties or exceptional Scholarly/Professional Activities. Department Criteria will specify exceptional performance in each of the two areas. In addition to exceptional performance in the employee's chosen area, the employee will be expected to meet or exceed regular promotion requirements in each of the two other areas of responsibility (Article 20.9.c). A School of Music faculty member who applies for tenure or promotion on the basis of exception must meet one of these three two standards for exceptional performance:

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A. Exceptional Teaching/Performance of Primary Duties may be established by demonstrating a nationally recognized reputation as a teacher;

B. Exceptional Scholarly/Professional Activities may be established by demonstrating a reputation as an expert in the relevant specialty based on a sustained record of adjudicated activity and activity in national venues;

C. In addition to exceptional performance in these two areas, the employee will be expected to meet or exceed regular promotion requirements in the area of Service.

VI. Unit B: Associate Faculty Promotion to Assistant Professor(Article 33.1.d)

A. Standards

1. For promotion to Assistant Professor, an Associate Faculty member must demonstrate the following.

a. In the Area of Teaching/Primary Duties:(1) Command of and currency in the subject matter for every course assigned and

the ability to organize the subject matter in a clear and appropriate manner;

(2) Effective presentation with evidence of effort to improve the effectiveness of presentation;

(3) Effective performance of the assigned non-teaching duties;(4) Demonstrated student retention effectiveness and studio development for

applied faculty;(5) Demonstrated student retention effectiveness and ensemble development for

ensemble directors;(6) Minimum 3.75 average mean score on student evaluations for each class

taught.

b. In the Area of Scholarly/Professional Activities:(1) Productive activity in one or more areas of specialization leading to

opportunities for the professional work to be exposed to and evaluated by non-WIU professional colleagues in local or regional venues or beyond;

(2) Sufficient activity for the quality of the work to be evaluated (according to the procedures described in the methods and materials section of the criteria);

(3) Work of high quality, according to relevant prevailing professional standards.

c. In the Area of Service:(1) Involvement in a School of Music committee; (2) Involvement in University Service;(3) Demonstrated student Recruitment effectiveness that reflects implementation

and progress within the applicant’s Recruitment Plan.(4) Recruitment is required of applied faculty, ensemble directors, and program

coordinators.

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Appendix IV

Professional Achievement Award School PAA Activities

Please refer to the UPI Agreement 2010-2015 for policy and procedure information concerning the following:

20.13. Procedures Unique to PAA Points System

20.14. Implementation of the PAA

20.15. Annual Report

This appendix contains the following information:

1. Memorandum of Agreement

2. Instructions for completing the School of Music PAA application

3. The most recent School of Music PAA application form.

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Memorandum of Agreement2010-15 Contract Extension

Professional ActivitiesThe administration and UPI have agreed to the following modifications to the “professional activities” category on the department’s PAA Activities Document:

1. A maximum of .5 points can be earned each year in the Professional Activity category.

2. The administration agrees to allow more than .1 per activity, if warranted by time and engagement. The administration agrees that points can be awarded on the basis of a combination of length and engagement.

3. The administration agrees that CITR workshops can be accumulated to meet minimum hourly requirements.

4. The administration agrees that points can be awarded outside the .5/5 hour of CITR workshops based on engagement and intensity (equivalent activity).

5. The administration agrees that chair approval will not be needed before a professional activity earn points.

6. It is agreed that professional conferences will not count as workshops unless the faculty member can demonstrate that the workshop was outside of the normal occurrence of the professional meeting (ie. Attending a paper presentation or similar panel does not count as a workshop).

Development of Distance Learning CoursesThe Administration and UPI have agreed that, for those faculty who develop a distance learning course and who are not receiving a stipend, the maximum number of PAA points that can be earned is 3 points (in addition to the ACEs provided under Article 16.4).

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PAA Application Information April 27, 2009School of Music

Format of documentation: Documentation shall consist of a list of activities for which points are being requested in the current evaluation period. Additional documentation may be requested by any of the examiners.

1. The format of that documentation is to be in the form of endnotes (see attached sample form).

2. A cardinal number in parentheses (the same font size as the PAA Application print) is to be placed at the end of the item line to the right of the points requested ( no roman numerals). That number will be referenced in the endnotes.

3. Endnotes are to be sequential for the entire document with no additional designation, e.g., (1) through (22) rather than in categories. This system will allow the evaluators to easily refer to a particular item by using the endnote number.

General and documentation information

Teaching/Primary Duties (minimum of 8 points required)

Departmental Independent Study/Readings

Documentation: student name, course number, and semester the study took place.

Undergraduate research supervision of projects presented and completed (URD)

It is my understanding from the Provost’s Office that this is limited to (URD) Undergraduate Research Day projects. Documentation: student name, project name, and date of presentation.

Honor’s thesis advised and completed

Student(s) must be officially registered for an honor’s course number. Documentation to include student name, course number, and semester study took place.

Honor’s recital- honors recital program notes

Student(s) must be officially registered for an honor’s course number. Documentation: student name, course number, and date of recital.

Student research (adjudicated scholarship, performance, creative activity) advised and presented off campus

Points given for work adjudicated and selected for presentation, e.g., a student paper selected for presentation at the American Musicological Society, or in the performance area students who compete and place in a professional competition or audition, e.g., an MTNA or NATS competition. Credit is not given for students who compete and do not place. Documentation: student name, name

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of paper or other research selected for presentation, or name of professional organization competition or audition, placement (first, second, etc. place), and date of event.

Graduate Thesis Committee Chairperson, upon completion

Documentation: student name, degree program, and semester completed.

Graduate Project Committee Chairperson, upon competition

Documentation: student name, degree program, and semester completed.

For serving on a doctoral dissertation committee

Documentation: student name, degree program, and semester completed.

Development of an online course (in addition to ACEs)

Documentation: course number, title, when approved for development, when completed, when first offered.

FYE faculty who work with peer mentors receive .5 points for every two peer mentors supervised

Documentation: name of peer mentors, FYE course name, and semester offered.

Development of an approved/fully delivered course (not online) – 1-3 points (based on time and effort)

This is referring to development of a new course not preparation required to teach an existing course you have never taught before. Documentation: name of course and semester offered.

Undergraduate Advising – 1 point per 17 students

Points given only if ACEs were not received for advising. Documentation: student names and semester advised.

Graduate Advising – 10-19 students/1 points; 0.5 point for every 10 additional students

Points given only if ACEs were not received for advising. Documentation: student names and semester advised.

Bringing in guest artist – 0.5 points for single event (up to 1 pt. a year)

Points are not given if guest artist is part of a festival for which faculty are also receiving points. Documentation: guest artist name, date of event.

Organizing and supervising field trip – 0.5 per trip

Points are not given if the faculty member is receiving ACEs for a job which includes as part the job duties organizing and supervising field trips. For example, one of the responsibilities listed for an

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applied area coordinator is that they “coordinate . . . . student travel to external performance venues/competitions/festivals. An example of a field trip that would receive points: Jennifer Jones organized and supervised a field trip for music therapy students to attend the American Music Therapy Association conference in Louisville, KY. Documentation: number of students involved, purpose of trip, location, professional organization, date of trip.

Supervising/directing non-credit ensembles and performances – 1 point

Points not given for ensembles/performances for which ACE credits have been received. Documentation: type of ensemble/performance and date.

Coaching sectionals beyond the applied studio—0.5 (four or more)

Not for coaching individual students or groups of students not connected with an ensemble or an ensemble festival or event. Sectionals that are done for recruiting purposes must be entered under recruiting in the Service section. Documentation: list sectionals with dates.

Supervising a performance by an ensemble – 1 point (regional); 2 points (national); 3 points (international)

Involves invitation to perform from a recognized professional organization; is the result of an audition process or juried competitive procedure; and cannot be in addition to points requested for same event under Scholarly/Professional Activities. Cannot receive points if part of job description for which ACEs are awarded. Documentation: name of inviting organization, type of event, date of event.

Major innovation in use of Technology

Documentation: short description of technology use which demonstrates major innovation.

The first week’s substitution for an absent colleague in a course

Documentation: Colleague name, course name, dates of substitution.

Taking a class directly relevant to faculty member with prior approval of Director of School of Music

Relevance determination: course must be able to count in meeting the educational requirement for tenure for the faculty member’s specialty area. Documentation: name of course, institution, and semester taken.

0.5 pt. for 2 in-class honors – can be rolled over across years to accumulate

Students must actually be enrolled for honors credit to receive points. Documentation: student name(s), course name(s), semester

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Professional Development – 0.5 pts. for 5 workshops

According to Provost Office, this item is only for on-campus CITR-type workshops. The maximum number of points annually is 0.5. Documentation: name of workshop and date.

Enhanced Teaching Performance (see appendix) – 1 point

Read appendix information. Documentation: (a) name of courses, mean scores, semesters; (b) and (c) name of faculty observer or course content evaluator, names of courses, semesters. The observation reports or course content evaluations do not have to be attached to the PAA Application but must be readily available if asked for by one of the PAA evaluators.

An equivalent teaching/primary duty

Cannot be related to anything for which ACEs are received. Documentation: name of activity, requested point amount, explanation of equivalency.

Scholarly/Professional Activities (minimum of 8 points required)

Category A: Higher-level contributions (2.5 to 3.0 pts. each)

Publication of a Book by a university press, national publisher which is scholarly and peer reviewed- 3 points

Documentation: book title, publisher information including date

Publication of a peer-reviewed journal article in a national/equivalent venue – 3 points

Documentation: article title, journal information including date

Publication of a college level textbook by recognized publisher – 3 points

Recognized publisher indicates some level of competitive peer/editorial review versus vanity press. Documentation: textbook title, publishing information including date.

Publication of composition, arrangement, transcription by recognized publisher – 3 points

Recognized publisher indicates some level of competitive peer/editorial review versus vanity press. Documentation: title, publishing information including date.

Recipient of national/international scholarly/professional/creative activities award – 3 points

National/international indicates professional significance and scope not geographical location. Documentation: name of award and awarding organization, date.

Competitive, major, Sponsored Projects approved external grant award (above $25,000) – 2.5

Documentation: name of sponsored project, grant award amount, date

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Full length recording as performer or composer (peer reviewed) – 3 points

Documentation: recording information, peer review information, including dates

Performance or other artistic achievement in invited or peer-reviewed national/equivalent venue – 3 points

Being invited to perform a recital by a colleague at another education institution does not qualify. National indicates professional significance and scope not geographical location. Documentation: listing of achievement and peer-viewed information.

Invited performer, conductor, or artist-teacher at national/international music festival (residence)3pts.

Documentation: activity, name of music festival, dates of residency.

Extended guest residency (more than 2 days) – 3 points

Documentation: name and date of the activity, justification for equivalence- i.e., how is the proposed activity equivalent to the other items listed in this category in terms of professional significance and/or work required?

Category B: Moderate-level contributions (1.5 to 2.0 pts. each)

Delivery of a peer reviewed presentation (international, national or regional) – 2 points

International, national, or regional indicates professional significance and scope not geographical location. Documentation: title of presentation, peer review professional organization, name of conference or event, date.

Invited performance or peer-reviewed show wherein performance or artistic work is accepted – 2 points

Being invited to perform a recital by a colleague at another institution does not qualify. Documentation: type of performance, peer-review information.

Publication of a chapter(s) in a book – 2 points

Documentation: title of book and chapter(s), publication information.

Editor of a scholarly book – 2 points

Documentation: title of book, publication information.

Publication of a monograph by a reputable publisher or professional organization – 1.5 points

Documentation: title, publication information

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Publication of a peer reviewed journal article in a regional venue (does not include conference proceedings) – 2 points

Regional indicates professional significance and scope not geographic location. Documentation: journal article title, journal name, publication information.

On-campus full faculty recital – 2 points

Documentation: date and location of recital

Invited performer at an all-state festival – 2 points

Documentation: nature of performance, all-state festival name and location, date.

Adjudication of a national/international competition – 2 points

National/international indicates professional significance and scope not geographic location. Also, preliminary qualifying parts of the competition, such as would occur on a regional level, do not qualify for points under this item. Documentation: name of competition, type of adjudication, location and date.

Collaborative accompanying of a full-length recital – 2 points

Documentation: name of collaborative performer, date and location of recital.

Soloist with university ensemble – 2 points

Documentation: name of musical composition performed, ensemble name, date and location of concert.

Competitive, minor, Sponsored Projects approved external grant award (10-25k) – 1.5 points

Documentation: name of sponsored project, grant award amount, date

Editor of a regional/national, peer-reviewed journal – 2 points

Regional/national indicates professional significance and scope not geographic location. Documentation: name of journal, publication information including frequency.

Article-length liner notes for a recording – 2 points

Documentation: name of recording, date of recording release

An equivalent professional or scholarly activity

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Documentation: name and date of the activity, justification for equivalence- i.e., how is the proposed activity equivalent to the other items listed in this category in terms of professional significance and/or work required?

Category C: Lower-level contributions (.5 to 1.0 pt. each)

Publication in a peer reviewed state-level journal – 1 point

Documentation: name of article, name of journal, publication information

Publication of a Book Review- .5 point

Documentation: book information, professional publication information including date

Delivery of a peer-reviewed, state-level conference paper – 1 point

Documentation: name of paper, name of conference and sponsoring professional organization, location and date.

Editor of state/regional journal – 1 point

Documentation: name of journal, name of professional organization publisher, publication frequency.

Membership and major contribution on an editorial board- .5 point

Documentation: name of editorial board, name of professional sponsoring organization or publisher, statement of contribution.

Submission of an unfunded Sponsored Projects approved, external grant - .5 point

Documentation: name of project, date of submission.

Awarded internal university level competitive grant – 1 point

Documentation: name of project, date of award

Summer stipend awarded – 1 point

Documentation: name of project, date of award

Officially assigned and actively engaged as a faculty mentor – 1 point

Documentation: Name(s) of faculty mentored.

Adjudication of a state/local competition- .5 point

Documentation: name of professional sponsoring organization, date of competition

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Collaborative work on recording project – 1 point

Documentation: short description of project and professional nature of the project, date of the project

Chamber Performance of new repertoire – 1 points per program (if not receiving ACEs)

For faculty receiving ACEs for a faculty chamber ensemble, the School of Music DWE (Department Workload Equivalents) document contains the following statement: “Each ensemble will rehearse a minimum of two hours per week, perform once a year in the Faculty Chamber Music series, provide other incidental performances as appropriate, and schedule performance tours of high schools for recruitment once a semester.”

Documentation: short statement that indicates date of the program, location, and how this program exceeds the requirements in the DWE statement.

Composition commission from regional/national/international entity – 1 points

Regional/national/international indicates professional significance and scope not geographic location. Documentation: name of commissioning entity, date of commission.

Adjudication of a regional competition – 1 points

Regional indicates professional significance and scope not geographic location. Documentation: name of professional sponsoring organization, date and location of competition.

Regional master classes, presentations or composers forum – 1 point

Regional indicates professional significance and scope not geographic location. Documentation: name of professional sponsoring organization, date and location of the event.

Conductor of district/conference state level – 1 point

Documentation: name of professional sponsoring organization, date and location of the event.

Participating on a panel (if organized/submitted panel, or served as reviewer/respondent to multiple papers) - .5 to 1 point

Documentation: statement of scope of responsibility, name of panel and conference, date and location.

Regional orchestra activity – principal/concertmaster 1 point; conductor 2 points; assistant principal .5 point; associate concertmaster/principal/conductor .5 point

Regional orchestra indicates a level of professional significance and a formally constitute professional organization that has a board of directors. A self-produced and controlled

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performing organization does not fit under this particular item. The points listed above are for an entire year not each performance.

Documentation: name of regional orchestra, nature of professional involvement, dates of performances.

Creation of a website – 1 point

Documentation: professional nature of the website, date created

An equivalent professional or scholarly activity

Documentation: name and date of the activity, justification for equivalence- i.e., how is the proposed activity equivalent to the other items listed in this category in terms of professional significance and/or work required?

Service Activities (minimum of 8 points required)

Category A: (2.5 to 3.0 pts. each)

Chair of a major University Council/Committee that meets one-to-two times per month(examples: Graduate Council, CGE, etc.) – 3 points

Documentation: name of council/committee and information regarding meeting schedule.

Vice-Chair or Secretary of Faculty Senate or Vice-Chair of CAGAS – 2.5 points

Documentation: indication of position.

Significant leadership position in one’s professional organization – 3 points

Documentation: name of professional organization and short explanation of significant leadership.

Summer Camp Directors – 3 points per camp (if no other payment)

If payment occurs and is donated back to the camp, PAA points will be assigned. Documentation: name and dates of camp.

Equivalent service activity

Documentation: name and date of the activity, justification for equivalence- i.e., how is the proposed activity equivalent to the other items listed in this category in terms of professional significance and/or work required?

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Category B: (1.5 to 2.0 pts. each)

Member of Faculty Senate – 2 points

Documentation: statement of membership.

Member of a major University Council that meets at least one-to-two times a month (Graduate Council, CAGAS, CCPI, UPC, or CGE) – 2 points

Documentation: Documentation: name of council/committee and information regarding meeting schedule.

Chair of search committee – 2 points

Documentation: name of position search

Chair, Music Personnel Committee- 2-3 points (dependent on number of applicants)

Documentation: statement of chairmanship and indication of number of applicants by category.

Chair, active department/college committee (meets at least one-to-two times a month) – 2 points

Documentation: name of committee and information regarding meeting schedule.

Summer Camp Teaching – 2 points per camp (if no other payment)

If payment occurs and is donated back to the camp, PAA points will be assigned. Documentation: name and dates of camp.

Summer Graduate Workshop Teaching (if no other payment) – 2 points per workshop

If payment occurs and is donated back to the workshop budget, PAA points will be assigned.Documentation: name of the workshop(s) and dates.

Equivalent service activity

Documentation: name and date of the activity, justification for equivalence- i.e., how is the proposed activity equivalent to the other items listed in this category in terms of professional

significance and/or work required?

Category C: (.5 to 1.0 pt. each)

Member, UPI Negotiating Team or UPI Executive Committee (if not already receiving ACEs) – 1 point

Documentation: statement of membership

Member, search committee for University President or Provost/Academic Vice President – 1 point

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Documentation: committee name and dates served

Member of Faculty Senate ad-hoc committee if meets at least once a month for full year (examples: Distance Learning ad-hoc committee, Foreign Language/Global Issues Committee, GERC, Online Course Information Implementation Committee, etc.) – 1 point

Documentation: name of committee and information regarding meeting schedule.

Member of other standing Faculty Senate Committees/Councils (or university committees) that meet less regularly than one-or-two times a month (examples: WID, CIA, CCPU, CIE, COC, Committee on President and Provost Performance, etc.) - .5 point

Documentation: name of committee(s) and information regarding meeting schedule

Chair of standing department committee – 1 point

Documentation: name of committee

Chair, College Personnel Committee – 1 point

Documentation: statement of chairmanship

Officially assigned and actively engaged as faculty mentor – 1 point

Can be counted here or in Scholarly/Professional, but not both. Documentation: names of faculty mentored.

Advisor, student organization - .5 point

Student organization should be officially recognized by Student Activities. Faculty member should be listed officially in the Music Faculty Handbook as an advisor for the organization either as a result of assignment by the School of Music Director and/or vote of the students in the organization. Documentation: name of student organization.Member, standing/active, time intensive department or college committee that meets regularly - .5 to 1 point

Some ACE assignments, e.g., Area Coordinator, Director of Ensemble Area, Graduate Coordinator, require membership on certain committees as part of the duties and responsibilities for that particular ACE assignment. Please refer to the Music Faculty Handbook for those job descriptions. Documentation: name of committee(s) and information regarding meeting schedule.

Non-juried presentation or workshop - .5 point

Can’t be double-counted under another item such as recruiting.Documentation: name of sponsoring professional organization, date and location of presentation or workshop.

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Classroom Observations of Peer Teaching - .5 for 5 observations

Documentation: name(s) of faculty observed and dates of observations.

School of Music website maintenance/updating – 1 point

Documentation: information on nature and frequency of maintenance/updating.

Area website maintenance (continual updates each semester) - .5 points

Documentation: name of website, information on nature and frequency of maintenance/updating.

Recruiting that requires effort throughout the entire year (if not receiving ACEs) – 1 point

Can’t be double-counted under another item such as Non-juried presentation or workshop.Documentation: short summary of recruiting activities and successes for the year.

Equivalent service activity

Documentation: name and date of the activity, justification for equivalence- i.e., how is he proposed activity equivalent to the other items listed in this category in terms of professional significance and/or work required?

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School of MusicProfessional Achievement Award School PAA Activities Document

Name_______________________________________________________________ Year_________________

Department__________________________________________________________

Teaching/Primary Duties (minimum of 8 points required for PAA)

Faculty must have received a rating (on the most recent retention, promotion, tenure, or four-year appraisal evaluation) that meets tenure requirements in Teaching/Primary Duties in order to be eligible to apply for a PAA.

Assigned Duties (duties for which one receives ACEs)

1 pt. earned for each ACE over 18 in an academic year

Note: Teaching assignments over 18 ACEs and any non-teaching or other Primary Duties for which one receives ACEs will fall under this area. Unassigned Duties (duties for which one doesn’t receive ACEs)

Departmental Independent Study/Readings - .5 points per 3 sh hours completed. Can be rolled over across years to accumulate.

Undergraduate research supervision of projects presented and completed (URD) – 1

point

Honor’s thesis advised and completed – 1 point

Honor’s recital—.5 for honors recital program notes

Student research (adjudicated scholarship, performance, creative activity) advised

and presented off campus – 1 point

Graduate Thesis Committee Chairperson, upon completion – 3 points

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Graduate Project Committee Chairperson, upon completion – 2 points

Graduate Thesis/Project Committee Member, upon completion - .5 point

For serving on a doctoral dissertation committee – 1 points

Development of an online course (in addition to ACEs) – 3 points

FYE faculty who work with peer mentors receive .5 points for every two peer mentors supervised

Development of an approved/fully delivered course (not online) – 1-3 points (based on time and effort)

Undergraduate Advising – 1 point per 17 students

Graduate Advising – 10-19 students/1 points; .5 point for every 10 additional

students

Bringing in guest artist – .5 points for single event (up to 1 pt. a year)

Organizing and supervising field trip -- .5 per trip

Supervising/directing non-credit ensembles and performances – 1 point

Coaching sectionals beyond the applied studio -- .5 (four or more)

Supervising a performance by an ensemble – 1 point (regional); 2 points (national);3 points (international)

Major innovation in use of Technology – 1 point

The first week’s substitution for an absent colleague in a course — 0.5 pt.

Taking a class directly relevant to faculty member with prior approval of Director of School

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of Music – 1 point

0.5 pt. for 2 in-class honors — can be rolled over across years to accumulate

Professional Development -- .5 for 5 workshops

Enhanced Teaching Performance ( see appendix) – 1 point

An equivalent teaching/primary duty

Total .......................................................................................................................................................................................................................................................................................... ..............................................................................................................................

Note: If activities overlap, the faculty member shall receive points in only one area. Points are only awarded for unassigned duties if ACEs are not given.

Scholarly/Professional Activities (minimum of 8 points required for PAA)

Category A: Higher-level contributions (2.5 to 3.0 pts. each)

Publication of a Book by a university press, national publisher which is scholarly andpeer reviewed – 3 points

Publication of a peer-reviewed journal article in a national/equivalent venue – 3 points

Publication of a college level textbook by recognized publisher – 3 points

Publication of composition, arrangement, transcription by recognized publisher —3 points

Recipient of national/international scholarly/professional/creative activities award – 3 points

Competitive, major, Sponsored Projects approved external grant award (above $25,000)– 2.5 points

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Full length recording as performer or composer (peer reviewed) – 3 points

Performance or other artistic achievement in invited or peer-reviewed national/equivalentvenue—3 points

Invited performer, conductor, or artist-teacher at national/international music festival (residence)3 pts

Extended guest residency (more than 2 days) – 3 points

An equivalent scholarly/professional activity

Category B: Moderate-level contributions (1.5 to 2.0 pts. each)

Delivery of a peer reviewed presentation (international, national or regional) – 2 points

Invited performance or peer-reviewed show wherein performance or artistic work is accepted – 2 points

Publication of a chapter(s) in a book – 2 points

Editor of a scholarly book – 2 points

Publication of a monograph by a reputable publisher or professional organization –

1.5 points

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Publication of a peer reviewed journal article in a regional venue (does not include conference proceedings) – 2 points

On-campus full faculty recital—2 points

Invited performer at an all-state festival – 2 points

Adjudication of a national/international competition – 2 points

Collaborative accompanying of a full-length recital – 2 points

Soloist with university ensemble – 2 points

Competitive, minor, Sponsored Projects approved external grant award (10 – 25k) – 1.5 points

Editor of a regional/national, peer-reviewed journal -- 2 points

Article-length liner notes for a recording – 2 points

An equivalent professional or scholarly activity

Category C: Lower- level contributions (.5 to 1.0 pt. each)

Publication in a peer reviewed state-level journal – 1 point

Publication of a Book Review -- .5 point

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Delivery of a peer-reviewed, state-level conference paper – 1 point

Editor of state/regional journal – 1 point

Membership and major contribution on an editorial board -- .5 point

Submission of an unfunded Sponsored Projects approved, external grant --.5 points

Awarded internal university level competitive grant – 1 point

Summer stipend awarded – 1 point

Officially assigned and actively engaged as a faculty mentor – 1 point

Adjudication of a state/local competition – .5 point

Collaborative work on recording project – 1 point

Chamber Performance of new repertoire – 1 points per program (if not receiving ACEs)

Composition commission from regional/national/international entity – 1 points

Adjudication of a regional competition – 1 points

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Regional master classes, presentations or composers forum – 1 point

Conductor of district/conference state level – 1 point

Participating on a panel (if organized/submitted panel, or served as reviewer/respondent to multiple papers) – .5-1 point

Regional orchestra activity – principal/concertmaster 1 point; conductor 2 points;

assistant principal .5 point; associate concertmaster/principal/conductor .5 point

Creation of a website – 1 point

An equivalent professional or scholarly activity

Total............................................................................................................................................................................................................................................................................................ ..................................................................................................................................................

Note: Scholarly/Professional Activity that is performed with others, such as a co-written publication, may be awarded pro-rated points. The faculty member shall propose the appropriate number of points and justify it to the DPC chair, department chair, and dean who will make the final determination.

Service Activities (minimum of 8 points required)

Category A: (2.5 to 3.0 pts. each)

Chair of a major University Council/Committee that meets one-to-two times per month (examples: Graduate Council, CGE, etc.) -- 3 points

Vice-Chair or Secretary of Faculty Senate or Vice-Chair of CAGAS -- 2.5 points

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Significant leadership position in one’s professional organization – 3 points

Summer Camp Directors—3 points per camp (if no other payment)

Equivalent service activity

Category B: (1.5 to 2.0 pts. each)

Member of Faculty Senate -- 2 points

Member of a major University Council that meets at least one-to-two times a month (Graduate Council, CAGAS, CCPI, UPC , or CGE) -- 2 points

Chair of search committee – 2 points

Chair, Music Personnel Committee – 2-3 points (dependent on number of applicants)

Chair, active department/college committee (meets at least one-to-two times a month) – 2 points

Summer Camp Teaching—2 points per camp (if no other payment)

Summer Graduate Workshop Teaching (if no other payment) —2 points per workshopEquivalent

service activity

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Category C: (.5 to 1.0 pt. each)

Member, UPI Negotiating Team or UPI Executive Committee (if not already receiving ACEs -- 1 point

Member, Search Committee for University President or Provost/Academic Vice

President --1 point

Member of Faculty Senate ad-hoc committee if meets at least once a month for full year(examples: Distance Learning ad-hoc committee, Foreign Language/Global Issues Committee, GERC, Online Course Information Implementation Committee, etc.) -- 1 point

Member of other standing Faculty Senate Committees/Councils (or University

Committees) that meet less regularly than one-or-two times a month (examples: WID, CIA, CCPU CIE, COC, Committee on President and Provost Performance, etc.) --.5 point

Chair of standing department committee – 1 point

Chair, College Personnel Committee – 1 point

Officially assigned and actively engaged as faculty mentor – 1 point

Advisor, student organization -- .5 point

Member, standing/ active, time intensive department or college committee that meets regularly -- .5 to 1point

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Non-juried presentation or workshop -- .5 point

Classroom Observations of Peer Teaching -- .5 for 5 observations

School of Music website maintenance/updating – 1 point

Area website maintenance (continual updates each semester – .5 points

Recruiting that requires effort throughout the entire year (if not receiving ACEs) – 1 point

Equivalent service activity

Total.......................................................................................................................................... ..................................................................................................................................................

Note:

All points listed are “per year” and should be pro-rated for semester activity Every department, college, and university committee cannot be listed and so

“equivalent service activity” allows the faculty member to request points for such service. It is expected that chairs of committees receive credit however members should only receive points if the service was time intensive (ex. service on a grade appeal committee that doesn’t meet or meets once or twice a year should not result in the awarding of points).

With the exception of the CPC chair, Curriculum College Committee chair, and Grade Appeals College Committee Chair, service activities that overlap shall receive points in only one area.

Bonus Points Points earned for activities listed in the Bonus Points category may be applied to meet the minimum number of points required in the appropriate area(s) of responsibility (Teaching/Primary Duties, Scholarly/Professional Activities, or Service Activities). So, bonus points for activities performed in the appropriate area (as determined by the faculty member, department chair, and DPC chair) may be used to meet or exceed the 8-point requirement in   the appropriate area(s) of responsibility listed above . These points may be awarded for an activity not listed under Teaching/Primary Duties, Scholarly/Professional Activities, or Service Activities, or they may be additional points given for extraordinary

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performance. Under Bonus Points, a faculty member who receives ACEs may also receive points based on the level of responsibility or for a major contribution.

Bonus points can be earned for exceptional performance in the following areas:

Additional points for the publication of major book or exceptional artistic recognition – 1-5 points

Additional points for the recipient of a major grant – 1-3 points

Distinguished Faculty Lecturer -- 8 points

University or College Excellence Award -- 4 points

Additional points for service wherein one receives ACEs (Chair, Faculty Senate;  Chair, CAGAS;   Chapter President, UPI; Chair, CCPI; Director, CITR;  Associate Director, Honors) -- 2 points

Significant recognition, honor, award in any of the three areas -- .5-3 points

Other activity of comparable value – 1-3 points

Total…………………………………………………………………………………....………………….... .......................................................................................................................................

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Overload Points

Faculty may choose to count ACEs over 22 as “points” rather than overload.

________________________________________________________________________________ ________________________________________________________________________________ ________________________________________________________________________________ ________________________________________________________________________________

Total............................................................................................................................... .......................................................................................................................................

Total Points to date:

Accumulated in Past Years

This Year

New Totals

Teaching/Primary DutiesScholarly/Professional ActivitiesService ActivitiesBonus PointsOverload Points

Grand Total…………………………………………………………………………………………….. _____

Department Chair _______________________ DPC Chair _______________________ Dean ______________________

AppendixDefinition of Enhanced Teaching Performance:Enhanced Teaching Performance can be demonstrated by “a” below in conjunction with “b” or “c”:

a. High student evaluations, where courses meet the following thresholds for two or more courses in a semester or for one course in a semester that constitutes at least 50% of the assigned teaching load:i. General Education courses (mean greater than or equal to 4.0)ii. Major courses (mean greater than or equal to 4.3)iii. Ensembles and applied courses (mean greater than or equal to 4.6)

b. Strong peer observations (for one or more courses, if the observation report includes the statement, “This observed teaching meets the standard for School of Music PAA points.”)i. At least three observations by one observerii. At least two observations by two or more observers

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c. Strong peer course content evaluation (for one or more courses, if the evaluation report includes the statement, “The evaluated course content meets the standard for School of Music PAA points.”)

Documentation shall consist of a list of the activities for which points are being awarded in the current evaluation period.

APPENDIX V

ACCOMPANIST GUIDELINESWestern Illinois University

School of Music

PRIORITIES FOR ASSIGNING ACCOMPANISTS

1. Degree Recitals 2. Ensembles and Opera

Concert Choir Opera Orchestra University Singers Wind Ensemble

3. Instrumental and Vocal applied (Performance)majors 4. All other music majors 5. Non-degree recitals – music majors 6. Non-required applied students 7. Non-music major recitals

For faculty and student accompanist needs not addressed above, the recommended rate for an accompanist is $30 per hour. However, each individual and accompanist is free to negotiate rates.

ACCOMPANIST ASSIGNMENTS

Studio faculty submit accompanist requests (including literature list) for registered students in their respective studios by Friday of the 2nd week of classes each semester. Fall semester, if needed, faculty will have until the end of the 3rd week of classes to submit information for new students (freshman and transfers).

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Generally faculty and students will be notified of accompanist assignments by Wednesday of the 3rd week of classes.

Requests to accompany recitals occurring during the first 8 weeks of a semester mustbe submitted the previous semester.

The number of accompanist hours assigned per student will vary depending on several factors including but not limited to the number of hours requested by the faculty member, the priority order stated above, student applied year, degree program, music difficulty, and whether or not a recital is being presented that semester.

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SCORE SUBMISSION

Instrumental & Vocal students: No later than Friday of the 3rd week of classes.

Recitals: At least 8 weeks before the scheduled date of the recital or Friday of the 3rd Week of classes whichever comes first.

REHEARSAL SCHEDULING

Scheduling must occur at least 2 weeks before the first rehearsal.

Students giving recitals should contact their pianist no later than six weeks before the recital date to plan rehearsals.

Students should contact their pianist no later than the end of the third week of classes to schedule rehearsals, lessons, and studio classes for the semester. The accompanist and/or the student’s applied teacher can guide the student with regard to the number of rehearsals and lessons needed for a particular assignment.

REHEARSAL PREPARATION

Both soloist and accompanist are expected to attend rehearsals with music well prepared. The accompanist will help students explore musical ideas that will help the ensemble and correct mistakes; however, it is not the accompanist’s responsibility to teach notes, rhythm, or diction.

CANCELLATION POLICY

The following will result in the loss of School of Music sponsored accompanist use for the offending student for at least one semester.

• Failure to follow these policies or procedures • Failure 2 times to give 24 hour notice to cancel/reschedule • Emergency cancellations due to illness or extenuating circumstances will be

handed on an individual basis. However, two emergency cancellations equals one regular cancellation without minimum 24 hour notice.

Revised 8/19/15 tlf

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