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Department of Music

Music Student

Handbook

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August 2014 Dear Music Students: It is with the great pleasure that I welcome you to the UTB Department of Music. This music program and its faculty are committed to your success as the first priority. The national professional reputations and artistic accomplishments of our faculty add very special, proven dimensions to our program in developing and training our music majors. In November 2007, our music program received accreditation from the National Association of Schools of Music (NASM). This prestigious designation is due to the exceptional caliber of our music faculty, extraordinary administrative support, and our outstanding students. This handbook has been prepared to assist you in many aspects of your experience with us. It contains information on Department of Music policies that we hope will be useful to you. I hope that you will have a productive and enjoyable year. Cordially, Dr. Tom Nevill Chair, Department of Music

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TABLE OF CONTENTS

DEPARTMENT OF MUSIC FACULTY AND STAFF 5 Full Time Music Faculty and Staff 5 Part Time Music Faculty 10 Adjunct Music Faculty 10 Administrative Staff 11 Department of Music Philosophy 12 Department of Music Mission Statement 12 Scholarship Requirements 12 Music Course Attendance Policy 12 Recommendation Letters and References 13 Syllabus Addendum – University Policies 13 Academic Standing 13 Students’ Academic Responsibilities 14 Administrative Withdraw 14 Scholastic Dishonesty 14 Grading Policy 14 American’s with Disabilities Act 14 Emergency Policy Statement 14 Emergency Notification System 15 Music Course Portfolios 15 Degree Planning 15 Advising and Departmental Hour 15 Declaration of Major and Degree Plan 15 Music Course Sequence and Prerequisites for Music Majors 16 Required Freshman year Music Courses for Music Majors 17 Required Sophomore year Music Courses for Music Majors 18 Required Junior year Music Courses for Music Majors 18 Required Senior year Music Courses for Music Majors 18 Ensemble Requirements 19 Aural Skills Proficiency 19 Class Piano and Piano Proficiency 20 Compass E Write 20 Applying to the College of Education 20 Student Teaching Prerequisites 20 Senior Experience in Music and the Teacher Certification Test 21 Department of Music Policy on Repeating Courses 21 Department of Music Policy on Failure to Register for Applied Lessons 21 Performance Requirements 22 Applied Lessons 22 Practice Expectations 22

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Juries 22 Total Applied Grade 22 Policy on Purchasing Music 23 Recital Attendance Policy 23 Audience Etiquette Guidelines for Concerts and Recitals 24 Music Staff Accompanist and Recital Scheduling Policy 25 Responsibilities of the Department 25 Signing up for Rehearsals with Pianists 25 Instrumental Students 26 Voice Students 26 Responsibilities of the Student 27 Responsibilities of the Pianist 27 Scheduling Degree Recitals 27 Attire 27 Stage Etiquette for Performers 28 Degree-Related Recitals 29 Sophomore Recital Requirements for Music Education and Performance Majors 30 Junior/Senior Recital Requirements for Music Education Majors 30 Junior Recital Requirements for Performance Majors 30 Senior Recital Requirements for Performance Majors 30 Recital Program Printing 30 Stage Personnel and Equipment Moving Requirements 31 Attire for Major Ensembles 31 Facilities, Equipment & Materials 32 Acceptable Use of UTB Property 32 Security of UTB Instruments 32 UTB Instrument Check Out and Check In 32 Practice Rooms 32 Instrument Lockers 32 Building Hours 33 Piano Proficiency for Music Majors 34 Piano Proficiency for Non-Piano Majors 34 Piano Proficiency for Piano Majors 35 Music Course Listings and Prerequisites for Music Majors 36 Music Courses 36 Ensembles 37 Applied Lessons 37 Forms 38 Health and Safety Information and Recommendations for Student Musicians 38

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DEPARTMENT OF MUSIC FACULTY AND STAFF

Full Time Music Faculty and Staff

Dr. Juan Pablo Andrade, Assistant Professor Subjects Taught: Applied Piano, Class Piano, Aural Skills BM University of Costa Rica (Piano Performance) MM Arizona State University (Piano Performance) Artist’s Diploma, Indiana University, South Bend (Piano Performance) DMA University of North Carolina, Greensboro (Piano Performance) Office: Eidman 120-A Phone: (956) 882-7477 E-mail: juan.andrade@utb.edu Dr. Nicole Asel, Assistant Professor Subjects Taught: Applied Voice, Diction, Opera BM Ithaca College (Vocal Performance) MM University of North Carolina, Greensboro (Vocal Performance) DMA University of Colorado, Boulder (Vocal Performance and Pedagogy) Office: Eidman 114 Phone: (956) 882-5786 E-mail: nicole.asel@utb.edu Dr. Cristina Ballatori, Associate Professor Subjects Taught: Applied Flute, Flute Ensemble, Chamber Music, Flute Methods BM George Mason University (Flute Performance) MM Louisiana State University (Flute Performance) Post Graduate Diploma, Royal Northern College of Music, Manchester, England DMA University of Colorado, Boulder (Flute Performance) Office: Eidman 104 Phone: (956) 882-7245 E-mail: cristina.ballatori@utb.edu Dr. Art Brownlow, Professor Subjects Taught: Applied Trumpet, Trumpet Ensemble, Music History BME Furman University MM Northwestern University (Trumpet Performance) DMA University of Texas (Trumpet Performance) Office: TSC Arts Center 1.027 Phone: (956) 882-8946 E-mail: art.brownlow@utb.edu

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Mrs. Laura Brumbaugh, Accompanist Coordinator BM Oberlin Conservatory of Music (Piano Performance) MM University of Colorado, Boulder (Collaborative Piano) Office: Eidman 102 Phone: (956) 882-7969 E-mail: laura.brumbaugh@utb.edu Mr. Michael Christensen, Lecturer Subjects Taught: Applied Saxophone, Jazz Band, Music Theory, Computer Applications BM University of Oklahoma (Saxophone Performance) MM University of Oklahoma (Saxophone Performance) DMA Texas Tech University (Saxophone Performance) In Progress Office: Eidman 105-A Phone: (956) 882-8885 E-mail: michael.christensen@utb.edu Dr. Katherine Geeseman-Decker, Assistant Professor Subjects Taught: Applied Cello, Applied String Bass, String Methods, Aural Skills BM Valparaiso University (Cello Performance) MM Florida State University (Cello Performance) DMA Florida State University (Cello Performance) Office: Eidman 213 Phone: (956) 882-7409 E-mail: katherine.geeseman@utb.edu Dr. Susan de Ghizé, Assistant Professor Subjects Taught: Music Theory Coordinator BA University of California, Berkley PhD University of California, Santa Barbara (Theory) Office: Eidman 202 Phone: (956) 882-7116 E-mail: susan.deghize@utb.edu Dr. Jonathan Guist, Associate Professor Subjects Taught: Applied Clarinet, Clarinet Ensemble, Chamber Music, Clarinet Methods BME New Mexico State University MM Baylor University (Clarinet Performance) DMA Eastman School of Music (Clarinet Performance) Office: Eidman 218 Phone: (956) 882-8808 E-mail: jonathan.guist@utb.edu

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Dr. Daniel Hunter-Holly, Associate Professor Subjects Taught: Applied Voice, Opera BM University of California, Santa Barbara (Vocal Performance) MM University of North Carolina, Greensboro (Vocal Performance) DMA The Ohio State University (Vocal Performance) Office: Eidman 113 Phone: (956) 882-7178 E-mail: daniel.hunterholly@utb.edu Dr. Susan Hurley Glowa, Associate Professor Subjects Taught: Applied French Horn, Music History, Music Appreciation BM Potsdam College, State University of New York (Horn Performance) Advanced Performance Diploma, Hochschule für Musik, Freiburg, Germany MM University of Louisville (Horn Performance) MA Brown University (Ethnomusicology) PhD Brown University (Ethnomusicology) Office: Eidman 202 Phone: (956) 882-5787 E-mail: susan.hurley@utb.edu Dr. Eric Jenkins, Accompanist BM Lawrence University (Piano Performance) DMA Florida State University (Piano Performance) Office: Eidman 101-A Phone: (956) 882-7182 E-mail: erik.jenkins@utb.edu Dr. Stacy Kwak, Accompanist BM Eastman School of Music (Piano Performance) MM Boston University (Piano Performance) DMA University of North Texas (Piano Performance) Office: Eidman 120-B Phone: (956) 882-7387 E-mail: stacy.kwak@utb.edu Mr. Albert Lo, Director of Bands BM Western Illinois University (Music Education) MM Northern Illinois University (Music Education) DMA University of North Texas (Conducting) Office: TSC Arts Center 1.022 Phone: (956) 882-8255 E-mail: albert.lo@utb.edu

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Dr. Carol McNabb Goodwin, Professor Subjects Taught: Applied Oboe, Applied Bassoon, Aural Skills, Senior Experience BM University of North Texas (Bassoon Performance) MM University of Louisiana, Monroe (Bassoon Performance) DMA University of Arizona (Bassoon Performance) Teacher Certification in Music, University of Texas, Brownsville Office: Eidman 206 Phone: (956) 882-7528 E-mail: carol.mcnabb@utb.edu Dr. Joe Moore III, Lecturer Subjects Taught: Applied Percussion, Percussion Ensembles, Percussion Methods BM University of Central Florida (Percussion Performance) MM University of South Carolina (Percussion Performance) DMA Louisiana State University (Percussion Performance) Office: Music Building 103 Phone: (956) 882-8244 E-mail: joe.moore@utb.edu Dr. Tom Nevill, Associate Professor, Department Chair Subjects Taught: Applied Percussion, Percussion Ensembles BM Eastern Illinois University (Music Education) MM University of Nevada, Las Vegas (Percussion Performance) DMA University of Nevada, Las Vegas (Percussion Performance) Office: Eidman 107-D Phone: (956) 882-8274 E-mail: tom.nevill@utb.edu Ms. Martha Placeres, Lecturer Subjects Taught: Applied Violin, Applied Viola, Symphony Orchestra, String Ensemble BM Conservatorio de Musica del Estado de Puebla (Violin Performance) MAIS University of Texas at Brownsville (Violin Performance) DMA Texas Tech University (Conducting) Office: TSC Arts Center 1.025 Phone: (956) 882-7700 E-mail: martha.placeres@utb.edu

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Dr. Michael Quantz, Professor Subjects Taught: Applied Guitar, Guitar Ensembles BM University of North Texas (Guitar Performance) MM University of North Texas (Guitar Performance) DMA University of North Texas (Guitar Performance)

Teacher Certification in Music, University of Texas at Brownsville Office: Eidman 204 Phone: (956) 882-7527 E-mail: michael.quantz@utb.edu Dr. Kenneth Saxon, Associate Professor Subjects Taught: Applied Piano, Keyboard Skills, Class Piano, Accompanying BM Shorter College (Piano Performance) MM Shorter College (Piano Performance) DMA University of Alabama (Piano Performance) Office: Eidman 120-B Phone: (956) 882-8267 E-mail: kenneth.saxon@utb.edu Dr. Sean Taylor, Assistant Professor Subjects Taught: Applied Voice, Master Chorale, Choral Conducting BM Westminster College (Voice) MM Carnegie Mellon University (Conducting) DMA University of Cincinnati (Choral Conducting) Office: Eidman 112 Phone: (956) 882-7724 E-mail: sean.taylor@utb.edu Mrs. Sally Trenfield, Lecturer Subjects Taught: Elementary Music Education BME Indiana University MME University of North Texas Office: Eidman 211-A Phone: (956) 882-7226 E-mail: sally.trenfield@utb.edu

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Part-Time Music Faculty Mr. Antonio Briseño, Associate Professor Subjects Taught: Mariachi, Music Appreciation AA Delmar College BME Eastern New Mexico University MA Eastern New Mexico State University Office: Eidman 203 Phone: (956) 882-8943 E-mail: antonio.briseno@utb.edu

Adjunct Faculty

Mr. Adam Decker, Orchestration and Arranging E-mail: adam.decker@utb.edu Dr. Jonathan Dotson, Guitar E-mail: jonathan.dotson@utb.edu Mrs. Pamela Ramirez, Teaching Music in the Elementary School E-mail: Pamela.Ramirez@bisd.us

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Administrative Staff Dr. Jennifer Cahn, Patron of the Arts Coordinator Office: Eidman 106-B Phone: (956) 882-7025 E-mail: jennifer.cahn@utb.edu Mr. Steven Fry, Music Academy Interim Coordinator Office: Eidman 106-C Phone: (956) 882-7703 E-mail: steven.fry105@utb.edu Ms. Angela Reyes, Academic Department Liaison Office: Eidman 107-C Phone: (956) 882-7768 E-mail: angela.reyes@utb.edu

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UTB UNDERGRADUATE MUSIC HANDBOOK

DEPARTMENT OF MUSIC PHILOSOPHY AND MISSION STATEMENT

DEPARTMENT OF MUSIC PHILOSOPHY The Department of Music is committed to excellence. It is uniquely poised to assist the university in the convening of cultures. The Fine Arts are an integral part of the Liberal Arts education. The Department of Music is committed to producing graduates who are articulate, culturally literate, and critical thinkers. The Arts are among the most essential and ennobling endeavors of humankind which promote respect, dignity, and understanding of self and others.

DEPARTMENT OF MUSIC MISSION STATEMENT The Department of Music advances the Arts both locally and regionally. It offers high quality courses and degrees that produce highly competent music educators, performers, as well as a general student population that has an appreciation of music and art of all cultures. The Department of Music supports the University's mission of public service and life-long learning.

SCHOLARSHIP REQUIREMENTS You must maintain a 3.0 or higher GPA overall and be enrolled for and complete credit for fifteen semester hours (including the appropriate ensembles) in order to be eligible and to maintain eligibility for Department of Music scholarships.

MUSIC COURSE ATTENDANCE POLICY It is possible to receive a failing grade due to absences. The following policy has been adopted as a minimum for all music courses for music majors. A course may have a stricter attendance policy than this. Refer to the specific course syllabus for its attendance policy. In the case of music ensembles, the consequences of missing a performance due to an unexcused absence are set by the ensemble director. 1. The number of absences allowed shall not exceed the number of times the course meets in one week

plus two. 2. Once you exceed this number, you will fail the course. You may still attend, participate in the class

and be evaluated by the instructor. However, in the case of ensembles, you will not be permitted to participate further.

3. Three tardies will equal one absence. A tardy is defined as less than 15 minutes late. Students over 15 minutes late will be counted as absent.

4. You will be counted tardy if your cell phone rings in class. You will be counted absent if you talk on your cell phone or text during class. This includes leaving the classroom to use your cell phone during class time.

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5. No consideration of leniency will be entertained unless you contact the instructor PRIOR to the class meeting or rehearsal.

6. Absence from a class or rehearsal due to performing in a UTB ensemble or attending another approved music department event will not be counted against you. However, you must let your instructor know in advance, which generally requires you to show an excuse letter from your ensemble director or other music instructor.

7. If you are receiving an ensemble scholarship and you do not fulfill these requirements you will lose your scholarship. You must re-audition in order to be considered for continued funding and to be readmitted to the ensemble.

8. Only in the most extreme cases (e.g. extended hospitalization) will the instructor consider making an exception to the above rules.

9. Absence from a rehearsal due to a performance in another UTB ensemble shall not be counted against the student.

RECOMMENDATION LETTERS AND REFERENCES

Some time in your career you will most likely need a letter of recommendation or verbal reference. We on the Music Faculty will be happy to give one. However, please keep in mind that we must truthfully answer questions about your reliability, work ethic, behavior, ability to work with others, appearance, etc. Additionally, one of the most frequently asked questions is: “Would you hire this person to work for you?” It is of utmost importance that the Music Faculty maintains its credibility with the school districts and other potential employers of our students. We cannot afford to give a glowing evaluation to a student who cuts classes, is late for rehearsals, turns in homework late, circumvents the rules or rarely practices. Doing so would jeopardize our chances of getting our best students hired in the future. So please reflect on your behavior as a student. It really does have a long-lasting effect on your future.

SYLLABUS ADDENDUM - UNIVERSITY POLICIES For additional information on these and other university policies please consult the latest edition of the University Catalog (Undergraduate or Graduate) available at www.utb.edu.

ACADEMIC STANDING

To remain in good academic standing undergraduate students are expected to maintain a cumulative grade point average (GPA) of at least 2.00 (“C” average) for all work attempted at UTB. Academic standing is computed each regular semester (i.e., Fall or Spring) for every UTB student, including transfer and dual coursework and BECHS and MSA students; transient students are held to the standards of their home institution, not to those of UTB. Students who fail to maintain the minimum required grade point average of 2.00 in all work attempted at UTB will be placed on academic probation. At the end of the probationary semester, students who have earned a cumulative GPA of 2.00 or higher will be changed to GOOD STANDING status. At the end of the probationary semester, students who have NOT earned a cumulative GPA of 2.00 and who have NOT earned a semester GPA of 2.00 or higher will be changed to SUSPENSION status. At the end of the probationary semester, students who have NOT earned a cumulative GPA of 2.00, but who have earned a semester GPA of 2.00 or higher will continue on PROBATION until their cumulative

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GPA is 2.00, as long as each semester GPA is 2.00 or higher. The purpose of measuring academic standing is to keep students on track for successful completion of a degree and to prevent unnecessary financial burden on those students who do not finish a program. Academic Standing is calculated separately from Financial Aid Satisfactory Academic Progress. If you are on financial assistance, please visit http://www.utb.edu/em/fa/Pages/SatisfactoryAcademicProgress.aspx for specific academic progress requirements.

STUDENTS’ ACADEMIC RESPONSIBILITIES

Students are required to be diligent in their studies and regular in class attendance. The number of absences permitted in any one course varies with instructor and course. Some programs have very strict attendance policies. Attendance requirements are printed in the course syllabus and announced by the instructor at the initial class meeting. On recommendation of the instructor concerned, students will be dropped from courses for failure to meet the attendance requirements or other good cause. This will result in a W or an F on students’ academic records with negative consequences for financial aid eligibility, and international student visas.

ADMINISTRATIVE WITHDRAWAL

Students who miss more than half of the required activities within the first 25% of the course without contacting the course professor may be administratively withdrawn from the course. Administrative withdrawal has serious consequences. Students may have to repay funds to Title IV financial aid programs. Administrative withdrawal will count toward the six-drop rule limiting the number of courses students are allowed to drop to no more than six courses over the entire undergraduate career. International students will not be eligible to continue enrollment if an administrative withdrawal results in a course load less than full-time.

SCHOLASTIC DISHONESTY

Students who engage in scholastic dishonesty are subject to disciplinary penalties, including the possibility of failure in the course and expulsion from the University. Scholastic dishonesty includes but is not limited to cheating, plagiarism, collusion, submission for credit of any work or materials that are attributable in whole or in part to another person, taking an examination for another person, any act designed to give unfair advantage to a student, or the attempt to commit such acts. Since scholastic dishonesty harms the individual, all students and the integrity of the University, policies on scholastic dishonesty will be strictly enforced (Board of Regents Rules and Regulations). All scholastic dishonesty incidents will be reported to the Dean of Students. Do not allow your peers to pressure you to cheat. Your grade, academic standing and personal reputation are at stake.

GRADING POLICY

Grades are awarded in courses in which students are officially enrolled after the official record date. The deadline to withdraw is specified in the Academic Calendar for each semester or term. After the deadline to drop with a grade of W has passed, students may not be awarded a W as a final grade. Final grades are

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available to students within 24 hours after all final examination grades have been submitted online after the end of each semester or term. Grade reports are not mailed to students. Students interested in obtaining their grades may log on to UTB Online.

Grade Range Grade Points A+ 98-100 4.00 A 93-97.9 4.00 A- 90-92.9 3.67 B+ 87-89.9 3.33 B 83-86.9 3.00 B- 80-82.9 2.67 C+ 77-79.9 2.33 C 70-76.9 2.00 D 60-69.9 1.00 F 59 and Under 0.00

AMERICANS WITH DISABILITIES ACT (ADA)

Students with disabilities, including learning disabilities, who wish to request accommodations in this class should notify the Disability Services Office early in the semester so that appropriate arrangements may be made. In accordance with federal law and university policy, a student requesting accommodations may or may not be asked to provide documentation of his/her disability. We encourage interested students to visit Disability Services in Cortez Hall 129, call 956-882-7374, or e-mail Steve.Wilder@utb.edu.

EMERGENCY POLICY STATEMENT

In compliance with the Emergency UTB Academic Continuity Program, academic courses, partially or entirely, will be made available on the Blackboard course management system. This allows faculty members and students to continue their teaching and learning via Blackboard, in case the university shuts down as a result of a hurricane or any other natural disaster. The university will use Blackboard to post announcements notifying faculty members and students of their responsibilities as a hurricane approaches our region. If the university is forced to shut down, faculty will notify their course(s). To receive credit for a course, it is the student’s responsibility to complete all the requirements for that course. Failure to access course materials once reasonably possible can result in a reduction of your overall grade in the class. To facilitate the completion of class, most or all of the communication between students and the institution, the instructor, and fellow classmates will take place using the features in your Blackboard and UTB email system. Therefore, all students must use UTB Online to provide a current email address. In the event of a disaster that disrupts normal operations, all students and faculty must make every effort to access an internet enabled computer as often as possible to continue the learning process.

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EMERGENCY NOTIFICATION SYSTEM

UTB has implemented an emergency communication system to provide students, faculty, staff and visitors with important information in the event of an impending threat. This system allows UTB to send time sensitive notifications via telephones, computers, indoor speakers in classrooms and laboratories, outside speakers, e-mail messages, and announcements on http://www.utb.edu/Pages/default.aspx. The notification methods used will vary depending on the level of the emergency. Messages will communicate the current situation and provide guidance for what action needs to be taken immediately.

MUSIC COURSE PORTFOLIOS

It is strongly suggested that every student keep copies of all work done in each music class in preparation for the Senior Experience course required for graduation. This includes all tests, homework assignments, and handouts for the course. You can scan these materials and keep digital copies or hardcopies which should be well organized and kept in large three-ring binders. All students are required to maintain an e-portfolio. Contents should include degree plan, audio/video recordings of performances on student recitals, sophomore and senior recitals, video of conducting finals, if applicable, and a resume. Each document should be labeled with the student name plus an appropriate file name (e.g. “Joe Smith Degree Plan”). Performance recordings should be titled with your name, the type of performance, and date (e.g. “Jane Smith Sophomore Recital – Feb. 17, 2014” or “Joe Smith Friday Student Recital – Nov. 19, 2014”). All items should be organized into a file folder labeled “Your Name E-Portfolio” and saved on a Flash Drive and backed up on at least one other drive.

DEGREE PLANNING

Advising and Departmental Hour

The advisors for music majors are the applied teachers. All students must meet with the music advisor towards the end of each semester before registering for the subsequent semester. A meeting for all music majors is held during the semester on Friday’s at noon. Attendance at these meetings is required of all music majors enrolled in applied lessons. Important announcements will be made and information shared to all students.

Declaration of Major and Degree Plan

Students must audition and be accepted into a music program of study to be eligible for declaring music as a major. Students must officially declare music as their major through Academic Advising. The process requires an official declaration of Major which may be obtained from Academic Advising. At that time, students are given a degree plan, which lists all courses you must take. For each semester in which you have not declared a major, you are charged an additional fee to register.

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Although degree requirements may change before you graduate, you are allowed to complete your coursework based on your original degree plan. Note that if you change your major to another subject but decide to return to music, you must use the new, current music degree plan.

Music Course Sequence and Prerequisites for Music Majors Note that each area (Vocal, Keyboard, Instrumental, and Guitar) requires additional courses not in this general list. It is important that students consult his or her music advisor. Also note that each music theory and aural skills course must be completed with a minimum grade of “C” to advance to the subsequent course. If you are not accepted into a music degree program, you are not eligible to enroll in music major courses. Students must be enrolled in Class Piano each semester until the Piano Proficiency is passed. Students may not take Orchestration until you have passed the Piano proficiency and the Aural Skills proficiency. Students must be enrolled in a Sight Singing and Ear Training Lab each semester while enrolled in Theory I, II, III, and IV until the Aural Skills Proficiency is passed. The Aural Skills Proficiency is administered at the end of Advanced Sight Singing and Ear Training II. Students must have passed Theory II with a "C" minimum to be eligible to take the Aural Skills Proficiency. If you do not pass the proficiency you must re-enroll in Advanced Sight Singing and Ear Training II each semester until you pass this proficiency. The Senior Experience course may not be taken until the Aural Skills Proficiency is passed. Computer Applications in Music (MUSI 4311) may be taken any semester after completing Music Theory II. If students fail or withdraw from a REQUIRED MUSIC class, the degree completion will be severely delayed.

Required Freshman Year Music Courses for Music Majors

Theory I, applied lessons REQUIRED (AP theory may be accepted) Theory II, applied lessons REQUIRED Elementary Sight Singing and Ear Training I Elementary Sight Singing and Ear Training II Class Piano – Class Piano is repeated until Piano Proficiency is passed Applied Lessons Levels I and II Core Ensemble each semester Secondary Ensemble each semester Other music courses depending on area of study Core Classes as needed for degree requirement (a minimum of 15 hours total each semester for scholarship students)

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Required Sophomore Year Music Courses for Music Majors Theory III Theory IV Advanced Sight Singing and Ear Training I Advanced Sight Singing and Ear Training II Class Piano each semester until Piano Proficiency is passed Applied Lessons Levels III and IV (Sophomore recital in IV) Introduction to Conducting, Choral or Instrumental, depending on major Music History I Core Ensemble each semester Secondary Ensemble each semester Other music courses depending on area of study Core Classes as needed for degree requirement (a minimum of 15 hours total for scholarship students) Note: You must have passed all university, Department of Music and College of Education (music education majors) requirements in order to enroll in upper division/education courses.

Required Junior Year Music Courses for Music Majors Orchestration and Arranging, piano and aural skills proficiency must have been passed to enroll Music History II Music History III Advanced Conducting Counterpoint and Analysis Applied Lessons Levels V and VI Core Ensemble each semester Secondary Ensemble each semester Advanced Sight Singing and Ear Training II each semester until Aural Skills Proficiency is passed Other music courses depending on area of study Core Classes as needed for degree requirement (a minimum of 15 hours total for scholarship students)

Required Senior Year Music Courses for Music Majors Applied Music Level VII (and Level VIII for students not seeking teacher certification) Senior Recital (may not be performed until Piano Proficiency, Aural Skills Proficiency, and all College of Education prerequisites are met) Core Ensemble each semester except during student teaching Secondary Ensemble each semester except during student teaching Advanced Sight Singing and Ear Training II each semester until Aural Skills Proficiency is passed Senior Experience in Music (including Teacher Certification Test Review) Note: You must complete all required music courses and proficiencies to enroll in Senior Experience. Exceptions may be made with the approval of the Department Chair for a methods class. If you are seeking

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teacher certification, you also must have been accepted into the College of Education. If you are taking Senior Experience and Senior Recital concurrently and you do not successfully present your recital, you will receive an “Incomplete” in Senior Experience and will be given permission to take the music benchmark exam upon senior recital completion. Student Teaching is done in the last semester of study. You must have taken and passed all other courses and passed your Piano and Aural Skills Proficiencies before student teaching. You must have passed your Senior recital before student teaching. Before student teaching you must have passed the State teacher certification tests (Music TExES and PPR).

Ensemble Requirements As a music major, you are required to enroll in two ensembles during each Fall or Spring semester that you are enrolled in applied lessons. You must enroll in the core ensemble for your performing area, and either in another core ensemble or in secondary ensemble. A minimum of two semesters of small ensembles is highly encouraged.

Core ensembles are as follows:

Wind Ensemble for woodwind, brass, and percussion majors Master Chorale for voice majors One O’clock or Two O’clock Guitars for guitar majors Orchestra for violin, viola, cello, and string bass majors Accompanying for piano majors

Secondary Ensembles are as follows:

Bravo Opera, Jazz Band, Mariachi, Flute Choir, Clarinet Ensemble, Woodwind Chamber Ensembles, String Chamber Ensembles, Brass Chamber Ensembles, Trumpet Ensemble, Guitar Orchestra, Brass Ensemble, Drumline, Marimba Reyna del Valle, Marimba Quartet

The Department of Music reserves the right to take photos of all ensembles for use in printed promotional materials and for use on the website.

Aural Skills Proficiency

You are not eligible to perform your senior recital, register for MUSI 4301 (Senior Experience in Music) or to student teach until you pass the aural skills proficiency. An aural skills proficiency consisting of three parts is given to all students at the end of Advanced Sight Singing and Ear Training II. The first part is individual sight singing of intervals and of previously unseen melodies in major and minor keys, using moveable “Do” solfege with Kodaly hand signs. The second part is rhythm performance of previously unseen material, using counting syllables, clapping and foot tapping. The third part is a written test including identification of intervals, scale types, chord types, and cadences by sound, dictation and error

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detection (comparing written music to sound) in the areas of melody, rhythm, and harmony. You must have passed Theory II with a "C" minimum to be eligible to take the Aural Skills Proficiency. Failure to pass all three parts of the proficiency by the end of the semester necessitates that the student re-enroll in Advanced Sight Singing and Ear Training lab each semester until all three parts (all must be retaken) are passed. Students transferring in from other institutions must take an aural skills placement evaluation before taking any music courses at UTB and must enroll in the assigned level of aural skills lab their first semester at UTB.

Class Piano and the Piano Proficiency

All freshman music majors taking music theory courses must enroll in class piano during the Fall and Spring semesters. Students must be enrolled in class piano and currently passing the class during the semester you take the piano proficiency. Requirements for the current piano proficiency are outlined in the appendix. Note that requirements may occasionally change for the proficiency and you must take the one currently in use.

Compass E Write

As of this writing, students must have passed all areas of the Compass E Write to enroll in upper division music courses (Junior level) and to apply for entrance into the College of Education, for music education majors. Students will not be allowed to perform your senior recital until this requirement is met. This and other requirements may change, so be sensitive to this possibility.

Applying to the College of Education

The minimum GPA for eligibility is 2.5. Music education majors may apply for entrance into the College of Education after completing the non-music core courses (basics, e.g., ENGL 1301 and 1302, HIST 1301 AND 1302), and passing all areas of the Compass E Write.

Student Teaching Prerequisites

Before doing your student teaching, you must have completed these:

Piano Proficiency

Aural Skills Proficiency

All music courses completed

All requirements of the College of Education fullfilled

Senior recital completed

The PPR (Pedagogy and Professional Responsibilities) AND the Music section of the TExES.

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Senior Experience in Music and the Teacher Certification Test

Successful completion of Senior Experience and the TExEs are required for student teaching eligibility. The Teacher Certification Test (TExES) is a state-wide test required for teacher certification, consisting of two parts: the Pedagogy and Professional Responsibilities (PPR) and the subject area test. It is offered at the university Testing Center. The PPR and the Music Subject test must be taken and passed before you student teach. You should plan to take the Music Subject TExES while enrolled in MUSI 4301 (Senior Experience in Music), or at the first opportunity during the next semester. To enroll in MUSI 4301, you must have completed all other music course requirements (except for senior recital which may be taken concurrently the semester of their senior recital), passed the piano and the aural skills proficiencies, and have been accepted into the College of Education. Performance majors, although not taking the TExES, must still take and pass MUSI 4301 in order to graduate, and must have passed their piano and aural skills proficiencies and all other music courses before enrolling. The TExES Music Subject test consists of questions on all theory, music history, and methods classes, as well as an extensive aural skills section including such skills as error detection on the printed page as a piece is being played and identification of pieces, musical eras, or ensemble types by sound. Note that you must pass the UTB Department of Music benchmark test to be eligible to register for the actual certification test. If you do not pass the music benchmark while enrolled in MUSI 4301 you will receive a failing grade in the course. All UTB music majors must pass MUSI 4301 in order to be eligible to graduate.

Department of Music Policy on Repeating Courses

After the second unsuccessful attempt by a music major at any one course (a grade of D, F, or a Withdrawal), the student must meet with the Chairperson of the Department of Music and the teacher of the course for counseling and to make a plan of remediation if necessary. If students receive a D, F, or Incomplete in a non-recital applied course they are put on “probationary status” and must earn a “C” or higher the next applied semester (even if they are required to repeat the same level). If a student receives below a “C” in the subsequent semester, the student will lose Music Major status and must re-audition for entry into the music program. Students taking an applied course level in which a degree recital is required who do not perform the recital successfully in two sequential semester attempts (regardless of the grade) must also re-audition for the music program. If the audition is successful, students may be required to enroll one applied course level back, or at the same level, as judged by the audition panel.

Department of Music Policy on Failure to Register for Applied Lessons

If prior to completion of your degree recitals, you do not enroll in applied lessons for two consecutive semesters, you will be administratively dropped from the degree. You will be notified by the Department of Music that you will be required to audition for re-admittance into the music program of study.

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PERFORMANCE REQUIREMENTS

Applied Lessons

Students must pass an audition in order to be a Music Major and begin applied lesson study. Others not sufficiently advanced for college level applied lessons are encouraged to take lessons through the UTB Music Academy. All students in applied lessons must also enroll in appropriate ensembles (one core ensemble and one secondary ensemble/additional core ensemble). Students desiring to become performance majors, must pass a 20 minute qualifying audition (the equivalent of a sophomore recital minus the ensemble piece, or your sophomore recital may serve the purpose) before three faculty members appointed by the Chair of the Department of Music. Because applied lesson credit hours are higher for performance majors, changing to a performance major will likely require students to take extra semesters of applied courses to complete the degree. At the beginning of each semester, in order to be assigned a lesson time, a complete class schedule must be submitted to the assigned applied instructor by the first day of classes. Students must perform an applied jury at the end of each semester to receive applied lesson course credit. Note that the grade may be adversely affected by an unexcused absence, as specified by the applied instructor. Students must inform the applied instructor in advance of the absence. One excused student absence is allowed each semester. Absences may be made up at the discretion and convenience of the applied instructor. Students must receive a "C" or higher to advance to the next level of applied lessons.

Practice Expectations

If you are a student pursuing teacher certification, you are expected to practice a minimum of 10 hours per week. If you are a performance major, you are expected to practice a minimum of 20 hours per week. Applied instructors may require additional practice above this minimum.

Juries

Juries are a formal performance covering all the work over the course of the semester. The jury at the end of each semester makes up 25% of your applied lesson grade. In some performance areas, students may be required to play a scale jury earlier in the semester. The day and time of the jury are assigned by the department. Students must receive no less than a 70 average from all faculty members hearing the jury to receive credit for an applied lesson course. Note that in semesters that students have successfully performed a degree recital, they are not required to play a jury. Vocal juries are expected to include music in a suitable mix of languages, and songs must be memorized. Other areas have specific requirements concerning memorization and repertoire.

Total Applied Grade The jury (or sophomore or senior recital grade) is 25% of the applied grade with the criteria for the remaining 75% of the total applied grade set by your applied instructor. Failure to attain a minimum of 100

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points in recital attendance will result in the applied lesson course grade being lowered by one full letter grade.

Policy on Purchasing Music

You MUST buy your own music for your private lessons. In order for the UTB Department of Music to be in compliance with copyright laws and to maintain National Schools of Music Association accreditation standards, this rule must be strictly followed. It is permissible for your applied instructor to duplicate a page or two of a solo or etude to get you started working on your lessons. However, they are not permitted to duplicate an entire work or its accompaniment. You must also purchase your own method books.

1. For works that are from large anthologies or are out of print, limited exceptions can be made to the photocopy policy.

2. For student recitals, you may use photocopies to play from to accommodate page turns, but you must also own a published edition of the work and have it with you at the performance, otherwise you will not be permitted to perform.

To assist you in finding a vendor you may want to ask your applied instructor for suggestions. The following is an incomplete list of vendors that may carry the music that you will need. Many of them can be found online through a Google search. Boston Music Hickeys.com Pepper Music Dorn Publications New England Sheet Music RBC Music Eble Music Penders Music Robert King Music Sheetmusicplus.com

Recital Attendance Policy Students must acquire 100 recital points to receive any credit. Failure to attend concerts sufficient to attain 100 points will result in your applied lesson course grade being lowered by one full letter grade. If you are enrolled in applied lessons, you must attend recitals and concerts each long semester to accumulate a minimum of 100 points. Different points are given for attending concerts of various types, as follows:

Visiting Artist & UTB Faculty Recitals, and professional ensembles = 25 pts. UTB Student Ensemble Concerts = 15 pts. UTB Student Sophomore and Senior Recitals, Friday student recitals = 10 pts.

The UTB Department of Music sponsors Patron of the Arts, an outstanding concert series with events taking place throughout each Fall and Spring semester. A student pass is available at a nominal fee of $20 for the entire season. Other concerts may be attended for credit, at the discretion of the Department of Music Chair. Programs must be turned in to the Department of Music office the first class day following a performance of this type in order to obtain recital credit. Attendance at concerts given by pre-college level

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performers such as high school ensembles, may NOT by counted for recital attendance points. For festivals and conventions, no more than two concerts may be accepted for credit. Students will be issued tickets (some for purchase, others at no charge depending on the concert) for individual concerts and turn the ticket in to the box office at the end of the program to receive points credit. It is strongly suggested that you save all concert programs and print your name and student ID number in ink on each one. Note that if you perform at all on the recital, you cannot earn attendance points for that recital.

Audience Etiquette Guidelines for Concerts and Recitals

Please bear in mind that the performers have dedicated many hours of practice and they deserve the optimal conditions for their performance. Many of our artists perform from memory and can easily be distracted. By drawing attention to yourself, you can unintentionally RUIN a performance. Additionally, most of our performances are recorded and can easily be ruined by extraneous noise. Someone once defined music as sounds painted on a canvas of silence. With this in mind, please observe the following rules:

1. There should be absolutely no talking or whispering during an acoustic performance.

2. Come early to a performance and plan to stay for the entire concert.

3. Do not enter or leave during a performance. If you absolutely must, then please wait until a piece is finished and applause has begun before doing so.

4. Small children are welcome at all our performances, but it is unwise to sit front row center with them. It is usually best to sit on an aisle seat near the rear of the auditorium to allow for an easy exit if they become noisy.

5. Turn off all cell phones, beepers, and laptop or tablet computers before the performance and do not use flash photography. No texting is permitted!

6. Some general guidelines regarding applause are as follows: a. Applaud when the performers enter the stage and continue applauding until they bow to the audience. In the case of a large ensemble, wait to begin applauding until the conductor enters then applaud until he/she bows. b. In the case of a multi-sectioned piece (one with more than a single movement) or a set of songs performed as a unit, applaud at the end of a complete piece only. For example:

Bipolar Railway ………………………………….Ozzy Osborne Allegro Andante Minuet Vivace

In this case, one should only applaud at the end of the Vivace movement. If you are unsure when to applaud, it is best to wait for someone else to begin. The above guidelines generally do not apply to pop, jazz or operatic performances, in which it is entirely appropriate to applaud if you feel so inclined after each solo.

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c. Standing ovations are generally reserved for those performances that are truly outstanding. Often, out-of-town professionals consider their audiences unsophisticated when they give an undeserved standing ovation. Standing ovations should only be given for those truly transcendental performances.

It is our sincere desire that you enjoy the performance. However, in the event of inappropriate behavior, you will be asked to leave the concert and you will not receive recital attendance points.

Music Staff Accompanist and Recital Scheduling Policy Responsibilities of the Department: The Department of Music Staff Accompanist (pianist) will provide accompanying at no charge to students enrolled in applied lessons or ensembles for the following:

Applied lessons (as outlined below)

Degree recitals

Non-degree recitals

Studio recitals

Studio class performances

Departmental master classes

Juries

Departmental sponsored competitions

NATS/MTNA

Choral and Instrumental Ensembles

Opera/Musical Theatre productions

Additional requests may be approved by the Department Chair. The Department of Music will not provide a pianist for any activities that are not related to the Department of Music unless approved by the Department of Music Chair and the College of Liberal Arts Dean. Please note: Students may record sessions with pianists for reference only and any recording sessions must be notified in advance. Applied teachers should give advance notice when they plan to attend a non-lesson scheduled session. Signing up for Rehearsals with pianist: In consultation with the applied teacher, students should email his/her assigned pianist to schedule the entire semester during the first two weeks of class. When a specific time slot has been scheduled, the student has reserved that time and it is the student’s responsibility to be at each session. All excused absences will be rescheduled at the earliest possible time. If the student misses a session without giving the pianist proper notification (no later than 9:00 am the day of the scheduled session) the session will not be made up and is considered an unexcused absence. If the student misses a regularly scheduled session as

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a result of two unexcused absences during the semester, he/she will no longer have access to a free pianist. If a student has an unexcused reason to be more than 10 minutes late to a regularly scheduled session two times during the semester, that will count as one missed session for the semester. It is extremely unprofessional to miss rehearsals or be late. If a student loses access to pianist for excessive unexcused absences or excessive tardiness, the student will need to find and pay for his/her own accompanist. UTB staff accompanists cannot be hired if you lose an accompanist due to attendance reasons. Instrumental Students – The applied faculty will assign all pianists in consultation with the Accompanying Coordinator. At the discretion of the applied teacher, rehearsals my take place during the applied lesson time.

Graduate Students: arrangements will be made as needed

Senior Performance Majors (recital): 10/60 minute sessions (to include a dress rehearsal, a pre-recital jury and a recital performance)

Junior Performance Majors (recital): 10/45 minute sessions (to include a dress rehearsal, a pre-recital jury and a recital performance)

Senior/Junior Music Education Majors (recital): 8/45 minute sessions (to include a dress rehearsal, a pre-recital jury and a recital performance)

Sophomore Recitals: 8/30 minute sessions (to include a dress rehearsal, a pre-recital jury and a recital performance)

Non-Degree Semester (all levels) – 4/30 minute sessions

Non-Degree Recital (all levels): A pianist will be provided when needed

Studio Class – Applied teachers may request a pianist to attend a weekly studio class. Attendance at a studio class performance would count as one of the allocated sessions. Please notify the pianist at least 4 weeks in advance regarding dates and repertoire.

Voice Students – The voice faculty will assign all pianists in consultation with the Accompanying Coordinator. Pianists will attend 30 minutes of every applied lesson and will be available to play during the weekly Voice Area studio class for the duration of the semester. Additionally, all voice students will be provided session times with the assigned pianist outside of the applied lesson as follows:

Graduate Students: Arrangements will be made as needed

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Senior Performance Majors (recital): 10/60 minute sessions (to include a dress rehearsal, a pre-recital jury and a recital performance)

Senior Performance Majors (non-recital): 6/30-minute sessions

Junior Performance Majors (recital): 10/45 minute sessions (to include a dress rehearsal, a pre-recital jury and a recital performance)

Senior/Junior Music Education Majors (recital): 7/45-minute sessions (to include a dress rehearsal, a pre-recital jury and a recital performance)

Sophomore Recitals: 7/30 minute sessions (to include a dress rehearsal, a pre-recital jury and a recital performance)

Non-Degree Semester (all other levels) : 4/30 minute sessions

Non-Degree Recital (all levels): A pianist will be provided as needed

Juries (all levels): A pianist will be provided as needed Responsibilities of the Student Students must turn in all of their music at the earliest possible time to their pianist, but no later than 5 weeks prior to a pre-recital jury or non-degree recital, and 3 weeks prior to a final jury, masterclass, semester recital performance, or departmental sponsored competition. Failure to meet these deadlines may result in a student having to find and pay for his or her own pianist All music (both instrumental and vocal) must be given to the accompanist in the following format:

Legible, double-sided photocopies of original scores

3-hole punched

Original page turns are retained from the published score.

Taped pages are acceptable

Staples are not acceptable The student must check every page to ensure that all of the notes have been successfully copied onto the page. Please make sure your name, teacher’s name, and email is on the music. The Department of Music copier is not available for student personal use. Responsibilities of the Pianist

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Music will be prepared prior to the first rehearsal

Students will be equally involved in scheduling and arranging rehearsal times

Show up for lessons and rehearsals on time

Any missed time by the pianist will be made up at the earliest possible time

Arrangements for a page turner will be made by the accompanist

Accompanists will assist applied teachers in maintaining accurate records of every session, including the date and time, and whether the student was prepared, on time, tardy, cancelled, or missed the session; the method of record-keeping is at the discretion of the applied teacher

The accompanist will defer to the applied teacher’s judgment, if any last-minute changes in repertoire become necessary

Any student concern will be shared directly with the applied teacher. Applied teachers have the final say in all student issues

Accompanist semester schedules must be submitted to the Department Chair by the Accompanist Coordinator at the beginning of the third week of classes

Attire

You are expected to be suitably dressed when performing on student recitals. These recitals are open to the University community and the general public, as part of the Patron of the Arts concert series. Recommended for men are a dress shirt, slacks, and tie. Men’s shirts should be tucked in. Recommended for women are a conservative dress or blouse and slacks. Jeans and tennis shoes are NOT considered appropriate attire.

Stage Etiquette for Performers When entering the stage, move quickly to the place from which you will perform, then bow. Set your music on the stand and adjust your chair or stand after you bow. At the end of your performance, bow first, give your accompanist a bow after you have taken yours if applicable, then gather your music and leave the stage quickly. When chamber groups perform, musicians should enter the stage in the order they will be sitting. All should stand in position until the last person has arrived in place. The last person on stage should lead the group in a bow, then all performers may sit and put music on stands or adjust chairs or stands. When the chamber group finishes performing, all should stand together and take a group bow, with the same person who led it before leading the bow again. Only then should music be removed from stands before the group leaves the stage. If practical, allow women to leave the stage before men. It is considered rude to turn your back to the audience or to fail to acknowledge applause. Simply nod your head and smile if the audience applauds at the wrong time.

Degree-Related Recitals Students seeking teacher certification are required to give a sophomore recital and a junior/senior recital. Students who are performance majors are required to give three recitals: a sophomore recital, a junior recital, and a senior recital. Although you are not required to perform a jury during semesters in which you

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have given a degree recital, you must still present your portfolio at the end of the semester and you must accumulate and turn in a minimum of 100 recital points, as in other levels of applied lesson courses. You must be enrolled in applied lessons during the semester in which you give your sophomore, junior or senior recital. The faculty panel for all recitals will be made up of the applied instructor plus two other full-time faculty members as assigned by the Department Chairperson. Pass/Fail results, numeric grade average and comments may be obtained from the applied instructor the next class day after the recital. Use the “Pre-Recital Checklist” available on the UTB Music website under “Current Students” Obtain formal approval from your applied professor to schedule your recital and follow the “checklist”. You can then schedule the recital in the music office. This is on a first-come-first-served basis. You must schedule a pre-recital hearing no later than four weeks before the recital date. During this hearing, you must perform the complete recital with all ensemble participants for the members of the recital panel, who will determine whether you can perform the recital successfully. If the majority of the panel does not vote to pass the hearing, you must wait until the following semester to schedule another pre-recital hearing. No changes will be allowed to the recital program after you have passed the pre-recital hearing. Your applied instructor has the prerogative to postpone your recital after you have passed the pre-recital hearing if you are not adequately prepared for your recital. In the event that a recital is postponed until another semester, an additional pre-recital hearing may be required. During semesters when you successfully perform a sophomore or a senior recital you are not required to perform a jury. However, you are required to present your portfolio and to turn in UTB-owned instruments at the day of the jury. You must also accumulate and turn in a minimum of 100 recital attendance points. The numeric grade average given by the committee for your recital will be used in place of the jury grade to calculate your applied grade. Scheduling Degree Recitals

Degree recital requests will be made during the first two weeks of the semester through your applied teacher

In consultation with your applied teacher, access the shared Patron Calendar for available dates prior to your applied teachers submitting the request form

Only applied teachers have access to the recital request form

A pre-recital jury must be scheduled no later than 4 weeks before the recital date

Degree recital requests should only be sent via email by a student’s applied teacher, hard copies will not be accepted

Confirm accompanist (if needed) prior to submitting request. Accompanist can be requested by contacting Laura Brumbaugh, Accompanying Coordinator (laura.brumbaugh@utb.edu)

Recitals will be scheduled on a first come, first serve basis and will only be approved if all required information has been included

All requests for student recitals must be scheduled through the Patron of the Arts office (patron@utb.edu) to receive departmental credit

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All Recitals will be in the TSC Arts Center Main Hall unless otherwise noted and approved by the Department Chair

Sophomore Recital Requirements for Music Education and Performance Majors

As a general requirement, the actual timing of the music should be a minimum of 20 minutes for music education majors and 25 minutes for music performance majors, although some applied teachers may require a longer program. The inclusion of a piece of chamber music or a work for small ensemble is highly recommended and may count for five minutes of the required music, although the piece may actually be longer in duration. Maximum time for sophomore recitals is 30 minutes of music. Vocal recitals are expected to include music in a suitable mix of languages.

Junior/Senior Recital Requirements for Music Education Majors The actual timing of the music should be a minimum of 40 minutes, although some applied teachers may require a longer program. The inclusion of a piece of chamber music or a work for small ensemble is required and may count for eight minutes of the required music, although the piece may actually be longer in duration. Maximum time for junior/senior recitals is one hour, including a five minute intermission. Vocal recitals are expected to include music in a suitable mix of languages.

Junior Recital Requirements for Performance Majors The actual timing of the music should be a minimum of 45 minutes. The inclusion of a piece of chamber music is highly recommended and may count for eight minutes of the required music, although the piece may actually be longer in duration. As an alternative, improvised pieces, original compositions, or other non-standard repertoire may be performed at the discretion of the applied instructor, but may not be considered as fulfilling more than eight minutes of the time required. Maximum time for junior recitals is 55 minutes and intermission is granted with permission of the applied instructor. Vocal recitals are expected to include music in a suitable mix of languages.

Senior Recital Requirements for Performance Majors The actual timing of the music should be a minimum of 55 minutes. The inclusion of a piece of chamber music or a work for small ensemble is required and may count for eight minutes of the required music, although the piece may actually be longer in duration. Maximum time for senior recitals is one hour and fifteen minutes, including a five minute intermission. Vocal recitals are expected to include music in a suitable mix of languages.

Recital Program Printing You are responsible for having programs printed. You must turn in a typed draft of your program to your applied instructor for proof reading before the pre-recital hearing and bring three copies of the corrected version to your pre-recital hearing. Programs should be printed by at least one week before the recital date.

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Two programs must be supplied to the music office by the day before the recital; one for posting and one for your file. [See the Recital Program Template & Guide online] The recital program should include the following:

1. Type of recital (sophomore, junior/senior, junior performance major or senior performance major), date (with year), time and place of the recital and the sentence: "This recital is presented in partial fulfillment of the bachelor of music degree at the University of Texas at Brownsville." 2. Names of all performers on the recital 3. Name of each piece, including movement titles, and the composer, including birth and death dates. The date of the piece's composition may be included if desired. 4. Text translations for voice recitals 5. Short, music-related biography of the person giving the recital 6. Optional thank you or dedication appropriate to a formal occasion

Stage Personnel, Equipment Moving Requirements, and Attire

You must arrange for at least one stage hand or more if necessary. Having a person at the entrance door is highly recommended. Your applied instructor will not participate as a member of the stage crew. It is your responsibility to see that all required equipment is arranged to be moved to the Arts Center and returned. As soon as you have passed your pre-recital hearing, use the pre-recital check list in the appendix to ensure that preparations are completed and turn it in to your applied instructor. You are expected to perform in attire appropriate to a formal event, such as evening wear if desired.

Attire for Major Ensembles Formal clothes are required for formal concerts and recitals! For other types of performances, attire will be as specified by the director. Ensemble attire generally is as follows: Guitar Orchestra Men: solid black shirt, solid black dress slacks, black dress shoes

Women: long solid black dress or black blouse and slacks, black dress shoes Jazz Band Men: solid black shirt, solid black dress pants, black dress shoes

Women: long solid black dress or black blouse and slacks, black dress shoes Mariachi Uniforms as supplied Master Chorale Men: black tuxedo, white dress shirt, black bow tie, black dress shoes

Women: chorale dress, black dress shoes (see ensemble director early during the semester for ordering information)

Symphony Orchestra Men: black tuxedo, white dress shirt, black bow tie, black dress shoes

Women: long solid black dress or black blouse and slacks, black dress shoes Wind Ensemble Men: black tuxedo, white dress shirt, black bow tie, black dress shoes

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Women: wind ensemble uniform, black dress shoes (see ensemble director early during the semester for ordering information)

FACILITIES, EQUIPMENT & MATERIALS

Acceptable Use of UTB Property Equipment and materials belonging to the Department of Music may not be used for any performance or event not directly associated with UTB. This includes, but is not limited to, all instruments, electronic gear, chairs, music stands, and sheet music. You are not allowed to remove any items from classrooms, practice rooms, or storage areas without the specific permission of a faculty member of the department. You must return all materials promptly to their original location after you use them.

Security of UTB Instruments and Equipment Before and After Performances In order to prevent loss of instruments and equipment and to ensure that they are returned to their proper, secure places, students using the instruments or equipment for a performance are required to stay with it until it is all picked up to be transported back to Eidman, the TSC Arts Center, or the Music Building. In certain circumstances, students may be required to oversee instruments and equipment before performances after it has been delivered to the performance location.

UTB Instrument Check Out and Check In

If you check out an instrument owned by UTB, you must sign the provided instrument use agreement. You must return all instruments you have checked out immediately after the applied jury each semester. Your semester grades will be held until you return the assigned instrument to the Department. If an instrument is damaged or stolen, it is your responsibility to repair it or replace it, as specified on the instrument use agreement. If you are using a small instrument owned by UTB you are required to store it in a locked locker (see below) when leaving it at UTB. Do not leave an instrument in an unsecure location even for a moment. NEVER leave your instrument in your car. Please make certain that renters/home owners insurance policy covers the replacement cost of the instrument. If not, you should purchase instrument insurance for the UTB instrument.

Practice Rooms The Department is not responsible for any items left in the practice rooms. Food and drinks are NOT allowed in the practice rooms at any time. Practice rooms are to be used only for practice: not for studying, socializing, or any other activities. Please turn off the light when you leave.

Instrument Lockers Instrument storage lockers are located in the TSC Arts Center and are assigned by the Department of Music at the beginning of each semester. The Department of Music provides all locks, which will be assigned to

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the locker. You must remove all personal items from your assigned locker by the last day of final exams at the end of each semester.

Building Hours Eidman Music Building Practice Rooms: 7:30 am to 11:00 pm, Monday – Friday. Saturday and Sunday hours 9:00 am to 5:00 pm, or when Music Academy is in session. Music Building Access: Only percussion majors and students approved by the Department Chair are allowed in the building. The TSC Arts Center: 7:00 am to 10:00 pm, Monday – Friday. Please note that there are no practice rooms at the TSC Arts Center and that absolutely no food or drinks are permitted in the TSC Arts Center at all times.

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PIANO PROFICIENCY FOR MUSIC MAJORS

For Non-Piano Majors Material for the piano proficiency will be taken from Alfred’s Group Piano for Adults, Books 1 and 2. I. Scales All Major and Minor Scales will be performed one octave, hands together. Minor scales will be performed in all three forms. Minimum speed is quarter note = 80 MM. The student will be requested to give all key signatures and to say letter names of notes, including flats and sharps, while playing some of the scales, at the discretion of the proficiency administrator. II. Chord Progressions All major and minor keys, hand together, as follows: Major: I – IV (second inversion) – I –V (first inversion seventh chord) – I Minor: i – iv (second inversion) – i – V (first inversion seventh chord) – i Each chord progression will be played immediately after the scale of the same key. The student will be requested to give chord names while playing some of the progressions at the discretion of the proficiency administrator. III. Transposition The student will prepare three different harmonization exercises from the text, transposed into any of these major keys: C, G, D, F, Bb, and play one of them as chosen by the proficiency administrator. The student will also transpose a melody at sight. IV. Harmonizing and Improvising The student will harmonize at sight a melody selected from the harmonization examples in the text. The use of block chords, jump bass, waltz bass, or alberti bass will be demonstrated. V. Score Reading The student will prepare two (2) two-part excerpts (soprano-alto, tenor-bass) assigned by the instructor. VI. Prepared Pieces - memory not required Two prepared pieces are selected by the student in consultation with the class piano instructor from Alfred’s Group Piano for Adults, Book 2, from any of the pieces designated as Solo Repertoire. A more advanced piece from another source may also be chosen if the class piano instructor agrees. VII. Sight Reading and Choral Warmups The student will sight read a piece provided by the proficiency administrator. The student will harmonize vocal warm ups, proceeding up chromatically starting with any key requested (see handout). 26

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PIANO PROFICIENCY FOR MUSIC MAJORS

For Piano Majors Material for the piano proficiency will be taken from Alfred’s Group Piano for Adults, Books 1 and 2. I. Scales All Major Scales will be performed two octaves, hands together. All minor scales will be performed two octaves, in all three forms, hands together. Minimum speed is quarter note = 100 MM. The student will be requested to give all key signatures and to say letter names of notes, including flats and sharps, while playing some of the scales, at the discretion of the proficiency administrator. II. Chord Progressions All major and minor keys, hand together, as follows: Major: I – IV (second inversion) – I –V (first inversion seventh chord) – I Minor: i – iv (second inversion) – i – V (first inversion seventh chord) – i Each chord progression will be played immediately after the scale of the same key. The student will be requested to give chord names while playing some of the progressions at the discretion of the proficiency administrator. III. Transposition The student will prepare three different harmonization exercises from the text, transposed into any of these major keys: C, G, D, F, Bb, and play one of them as chosen by the proficiency administrator. The student will also transpose a melody at sight. IV. Harmonizing and Improvising The student will harmonize at sight a melody selected from the harmonization examples in the text. The use of block chords, jump bass, waltz bass, or alberti bass will be demonstrated. V. Score Reading The student will prepare one excerpt, chosen from Book II. Examples are: "Wenn so lind dein auge mir," page 255; "Credo," page 332; “Agnus Dei”, page 278; “Quartet in F Major”, page 279; "Quartet in D Minor," page 333. VI. Prepared Pieces - memory required Two prepared pieces are selected by the student in consultation with the class piano instructor from Alfred’s Group Piano for Adults, Book 2, from any of the pieces designated as Solo Repertoire. A more advanced piece from another source may also be chosen if the class piano instructor agrees, and as long it is not being performed in the applied lesson jury. VII. Sight Reading and Choral Warmups The student will sight read a piece provided by the proficiency administrator. The student will harmonize vocal warm ups, proceeding up chromatically starting with any key requested (see handout). 27

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Music Course Listings and Prerequisites for Music Majors University of Texas at Brownsville Department of Music

MUSI 1111 Elementary Sight Singing and Ear Training I MUSI 1112 Elementary Sight Singing and Ear Training II (prerequisite of MUSI 1111, "C" or higher) MUSI 1114 Keyboard Skills I MUSI 1115 Keyboard Skills II (prerequisite of MUSI 1114) MUSI 1162 Diction I MUSI 1165 Diction II (prerequisite of MUSI 1162) MUSI 1166 Woodwind Methods I (prerequisite of MUSI 1211) MUSI 1168 Brass Methods I (prerequisite of MUSI 1211) MUSI 1181 Class Piano (must be repeated until piano proficiency is passed) MUSI 1188 Percussion Class I MUSI 1189 String Methods I MUSI 1311 Music Theory I, satisfactory score on placement test, and at applied I lesson level) MUSI 1308 Music Literature and Music History I MUSI 2111 Advanced Sight Singing and Ear Training I (prerequisite of MUSI 1112, "C" or higher) MUSI 2112 Advanced Sight Singing and Ear Training II (prerequisite of MUSI 2111, "C" or higher) MUSI 2166 Woodwind Methods II (prerequisite of MUSI 1166) MUSI 2168 Brass Methods II (prerequisite of MUSI 1168) MUSI 2311 Music Theory III (prerequisite of MUSI 1212, with "C" minimum) MUSI 2312 Music Theory IV (prerequisite of MUSI 2211, with "C" minimum) MUSI 2310 Special Topics in Music (with permission) MUSI 3211 Orchestration and Arranging (prerequisite of MUSI 2312 with "C" minimum, passed Piano and Aural Skills Proficiency) MUSI 3389 Introduction to Conducting, choral or instrumental (prerequisite of MUSI 1312) MUSI 3304 Elementary Music Techniques-General (prerequisite of MUSI 1212, MUSI 1308 and acceptance into the College of Education) MUSI 3306 Secondary Choral Techniques (prerequisite of MUSI 2212, MUSI 1308, MUSI 3389, and acceptance into the College of Education) MUSI 3307 Secondary Instrumental Techniques (prerequisite of MUSI 2212, MUSI 1308, MUSI 3289) MUSI 3308 Music History II (prerequisite of MUSI 1308 and MUSI 2212 with "C" minimums) MUSI 3309 Music History III (prerequisite of MUSI 3308 with "C" minimum) MUSI 3312 Counterpoint and Analysis (prerequisite of MUSI 2312 with "C" minimum, passed Piano and Aural Skills Proficiency) MUSI 3370 Topics in Music Literature MUSI 3380 Music Pedagogy MUSI 4311 Computer Applications in Music (prerequisite of MUSI 1312) MUSI 4389 Advanced Conducting (prerequisite of MUSI 3389) MUSI 4301 Senior Experience in Music (prerequisite that all other music courses be completed, except for senior recital which may be taken concurrently, passed the piano and aural skills proficiencies, and have been accepted into the College of Education.

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Ensembles MUEN 1121 / 3121 Wind Ensemble MUEN 1122 / 3122 Jazz Band MUEN 1123 / 3123 Symphony Orchestra MUEN 1131 / 3131 Brass Ensemble (Rio Bravo Brass) MUEN 1132 / 3132 Percussion Ensemble MUEN 1134 / 3134 Flute Ensemble MUEN 1136 / 3136 String Ensemble MUEN 1137 / 3137 Guitar Orchestra MUEN 1139 / 3139 Mariachi MUEN 1141 / 3141 Chamber Ensembles MUEN 1142 / 3142 Accompanying MUEN 1152 / 3152 Bravo Opera Workshop MUEN 1161 / 3161 Master Chorale

Applied Lessons

You must have a "C" or higher to take the next higher level. The following courses are for music majors seeking teacher certification: MUAP 1187 Applied Music I MUAP 1188 Applied Music II MUAP 2187 Applied Music III MUAP 2188 Applied Music IV MUAP 3101 Applied Music V (sophomore recital must have been passed to enroll) MUAP 3102 Applied Music VI MUAP 4101 Applied Music VII The following courses are for music majors who are not seeking teacher certification (performance majors): MUAP 1287 Applied Music I MUAP 1288 Applied Music II MUAP 2287 Applied Music III MUAP 2288 Applied Music IV MUAP 3301 Applied Music V (sophomore recital must have been passed to enroll) MUAP 3302 Applied Music VI MUAP 4301 Applied Music VII (junior recital must have been passed to enroll) MUAP 4302 Applied Music VIII

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Forms Please go online to the UTB Music website to “Current Students” for automated and downloadable forms for: Pre-recitals, Juries, Degree Recital Checklist, and Degree Recitals Comments

HEALTH AND SAFETY INFORMATION AND RECOMMENDATIONS FOR STUDENT MUSICIANS

Introduction

The Department of Music, as required by the National Association of Schools of Music, is obligated to inform students and faculty of health and safety issues, hazards, and procedures inherent in practice, performance, teaching, and listening both in general and as applicable to their specific specializations. This includes but is not limited to information regarding hearing, vocal and musculoskeletal health, injury prevention, and the use, proper handling, and operation of potentially dangerous materials, equipment, and technology. The Department of Music has developed policies, protocols, and operational procedures to guard against injury and illness in the study and practice of music, as well as to raise the awareness among our students and faculty of the connections between musicians' health, the suitability and safety of equipment and technology, and the acoustic and other health-related conditions in the University's practice, rehearsal, and performance facilities. It is important to note that health and safety depends largely on personal decisions made by informed individuals. The University of Texas at Brownsville 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 the university's control are involved. Each individual is personally responsible for avoiding risk and preventing injuries to themselves before, during, and after study at the University of Texas at Brownsville. The policies, protocols, and operational procedures developed by the Department 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.

Performance Injuries Anyone who practices, rehearses or performs instrumental or vocal music has the potential to suffer injury related to that activity. Instrumental musicians are at risk for repetitive motion injuries. Sizable percentages of them develop physical problems related to playing their instruments; and if they are also computer users, their risks are compounded. Instrumental injuries often include carpal tunnel syndrome, tendinitis, and bursitis. Incorrect posture, non-ergonomic technique, excessive force, overuse, stress, and insufficient rest contribute to chronic injuries that can cause great pain, disability, and the end of careers.

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What Instrumentalists Should Do 1. Evaluate your technique. Reduce force, keep joints in the middle of their range of motion, use large muscle groups when possible, and avoid fixed, tense positions. 2. Always warm up. As an athlete would not begin a vigorous physical activity without warming up, a musician must warm up carefully before practice or performance. 3. Take breaks to stretch and relax. Take short breaks every few minutes and longer breaks each hour. Two or more shorter rehearsals each day are more productive than marathon single sessions. Even in performance, find those opportunities to relax a hand, arm, or embouchure to restore circulation. 4. Pace yourself. No pain, no gain is a potentially catastrophic philosophy for a musician. Know when enough is enough, and learn to say 'no' to certain performances or lengths of performing that might result in injury. 5. Check out your instrument. Does your instrument place undue stress on your body? Is your instrument set up optimally for you to relieve pressure on hands, joints, etc.? Is there a strap, carrier, or stand available to relieve the stress? 6. Evaluate other activities. Pains and injuries affecting your music making could be caused by other activities in your daily life. Computer use is notorious for causing afflictions including carpal tunnel syndrome and tendinitis. 7. Pay attention to your body. Pain is the mechanism by which your body tells you that something is wrong. Listen to your body; if it hurts, stop what you are doing. 8. Get medical attention. Do not delay in seeing a doctor. A physician may prescribe a minor adjustment or, in worst-case scenarios, stipulate not performing for a period of time. As drastic as this may sound, a few months of rest is better than suffering a permanent, career ending injury. Likewise, the demands placed on singers' voices are immense. Hardly a month goes by where a top singer is not forced to interrupt a tour, take a break, or undergo a medical procedure due to problems with their voice. Medical professionals are making the case that the demands put on one's voice when singing one to three hours is as intense as those made on an Olympic marathon runner's body. Additional factors such as nutrition, smoking, drug use, noisy environments, and proper voice training (or the lack of it) all play a role in a singer's ability to perform at her/his best.

What Singers Should Do 1. Maintain good general health. Get adequate rest to minimize fatigue. If you do become ill, avoid "talking over your laryngitisee" - see your physician and rest your voice. 2. Exercise regularly. 3. Eat a balanced diet. Including vegetables, fruit and whole grains, and avoid caffeinated drinks (coffee, tea, and soft drinks) and alcohol. Avoid spicy, acidic, and dairy foods if you are sensitive to them. 4. Maintain body hydration; drink two quarts of water daily. 5. Avoid dry, artificial interior climates. Las Vegas has an average daily humidity of 36%, a relatively low amount of moisture. Using a humidifier at night might compensate for the dryness. 6. Limit the use of your voice. High-ceilinged restaurants, noisy parties, cars and planes are especially damaging to the voice. If necessary, use amplification for vocal projection. 7. Avoid throat clearing and voiced coughing. 8. Stop yelling, and avoid hard vocal attacks on initial vowel words.

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9. Adjust the speaking pitch level of your voice. Use the pitch level in the same range where you say, "Umm-hmm?" 10. Speak in phrases rather than in paragraphs. Breath slightly before each phrase. 11. Reduce demands on your voice - don't do all the talking! 12. Learn to breathe silently to activate your breath support muscles and reduce neck tension 13. Take full advantage of the two free elements of vocal fold healing: water and air. 14. Vocal athletes must treat their musculoskeletal system as do other types of athletes; therefore, vocal warm-ups should always be used prior to singing. Vocal cool-downs are also essential to keep the singing voice healthy.

What All Musicians Should Do 1. Stay informed. Awareness is the key. Like many health-related issues, prevention is much easier and less expensive than cures. Take time to read available information concerning injuries associated with your art. 2. Musicians might find the following books helpful: Conable, Barbara. What Every Musicians Needs to Know About the Body (GIA Publications, 2000) Klickstein, Gerald. The Musician's Way: A Guide to Practice, Performance, and Wellness (Oxford, 2009) Norris, Richard N. The Musician's Survival Manual (International Conference of Symphony and Opera Musicians, 1993) The following links may be useful: Associated Board of the Royal Schools of Music (ABRSM), the world's leading authority on musical assessment, actively supporting and encouraging music learning for all. Performing Arts Medicine Association (PAMA), an organization comprised of dedicated medical professionals, artists educators, and administrators with the common goal of improving the health care of the performing artist. Texas Voice Center, founded in 1989 for the diagnosis, treatment, and prevention of voice disorders. National Center for Voice and Speech (NCVS), conducts research, educates vocologists, and disseminates information about voice and speech. Vocal Health Center, University of Michigan Health System, recognized locally, regionally and nationally as a leading institution for the treatment and prevention of voice disorders. At the heart of the Center is a professional team comprised of experts from the University of Michigan Health System and U-M School of Music, encompassing the fields of Laryngology, Speech Pathology, and Vocal Arts.

Department-Owned Instruments The Department of Music maintains a collection of musical instruments for checkout and use by music students enrolled in our courses and performing ensembles. As with other items we use in the course of our daily lives, musical instruments must be cared for properly and cleaned regularly. Each instrument in the School's collection receives a thorough inspection at the conclusion of the academic year. Every year, thousands of dollars are spent to clean, adjust, and return instruments to full playing condition.

Antiseptically Clean More and more our society is pushing for products that are anti-fungal, anti-bacterial and anti-viral. Some even go the next step further aiming to achieve sterile. However, our bodies by design are not meant to live

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in a sterile environment. As kids we played in the dirt, ate bugs and countless other things and became stronger because of it. Keep in mind that total sterility is a fleeting moment. Once a sterile instrument has been handled or exposed to room air it is no longer considered to be sterile. It will however remain antiseptically clean until used. Most viruses cannot live on hard surfaces for a prolonged period of time. Some die simply with exposure to air. However, certain groups are quite hardy. Therefore, musicians must be concerned with instrument hygiene. Users of school owned and rented musical equipment might be more susceptible to infections from instruments that are not cleaned and maintained properly. If the cleaning process is thorough, however, musical instruments will be antiseptically clean. Just as with the utensils you eat with, soap and water can clean off anything harmful. Antibacterial soaps will kill certain germs but all soaps will carry away the germs that stick to dirt and oils while they clean. No germs/ no threat.

Infectious Disease Risks Sharing musical instruments is a widespread, accepted practice in the profession. However, recent discussion in the profession has included concern regarding shared musical instruments and infectious disease, especially HIV. The Centers for Disease Control (CDC), has confirmed that there is no risk of transmission of HIV (the virus that causes AIDS), or Hepatitis B (HBV) through shared musical instruments. The reasons for this are that these diseases are passed via a blood-to-blood, sexual fluid or mucous membrane contact. There has been no case of saliva transmission of HIV (the virus that causes AIDS), or Hepatitis B (HBV).

Instrument Hygiene While the possibility of transmission of the above bacteria and viruses is not a real consideration, it is apparent that there should be a protocol with regard to shared musical instruments. Sharing of instruments is routine in music schools, where students practice and perform on borrowed instruments throughout the year. The following are basic basic considerations and recommendations for standard operating procedures regarding shared instruments: 1. All musicians or students should have their own instrument if possible. 2. All musicians or students should have their own mouthpiece if possible. 3. All students and faculty sharing reed instruments MUST have their own individual reeds. Reeds should NEVER be shared. 4. If instruments must be shared in class, alcohol wipes or Sterisol germicide solution should be available for use between different people. When renting or using a Department-owned musical instrument, each user must understand that regular cleaning of these musical instruments is required in order to practice proper hygiene.

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Mouthpieces The mouthpiece, flute headjoint, English Horn and bassoon bocal, and saxophone neck crook, are essential parts of wind instruments. As the only parts of these instruments placed either in or close to the musician's mouth, research has concluded that these parts (and reeds) harbor the greatest quantities of bacteria. Adhering to the following procedures will ensure that these instrumental parts will remain antiseptically clean for the healthy and safe use of our students and faculty.

Cleaning the Flute Head Joint

1. Using a cotton swab saturated with denatured, isopropyl alcohol, carefully clean around the embouchure hole. 2. Alcohol wipes can be used on the flute's lip plate to kill germs if the flute shared by several players. 3. Using a soft, lint-free silk cloth inserted into the cleaning rod, clean the inside of the headjoint. 4. Do not run the headjoint under water as it may saturate and eventually shrink the headjoint cork.

Cleaning Bocals 1. Bocals should be cleaned every month with a bocal brush, mild soap solution, and running water. 2. English Horn bocals can be cleaned with a pipe cleaner, mild soap solution, and running water. Be careful not to scratch the inside of the bocal with the exposed wire ends of the pipe cleaner. Cleaning Hard Rubber (Ebony) Mouthpieces 1. Mouthpieces should be swabbed after each playing and cleaned weekly. 2. Select a small (to use less liquid) container that will accommodate the mouthpiece and place the mouthpiece tip down in the container. 3. Fill the container to where the ligature would begin with a solution of half water and half white vinegar (50% water and 50% hydrogen peroxide works too). Protect clarinet mouthpiece corked tenons from moisture. 4. After a short time, use an appropriately sized mouthpiece brush to remove any calcium deposits or other residue from inside and outside surfaces. This step may need to be repeated if the mouthpiece is excessively dirty. 5. Rinse the mouthpiece thoroughly and then saturate with Sterisol germicide solution. Place on paper towel and wait one minute. 6. Wipe dry with paper towel. 7. Note: Metal saxophone mouthpieces clean up well with hot water, mild dish soap (not dishwasher detergent), and a mouthpiece brush. Sterisol germicide solution is also safe for metal mouthpieces.

Cleaning Saxophone Necks (Crooks) 1. Swabs and padsavers are available to clean the inside of the saxophone neck. However, most saxophonists use a flexible bottlebrush and toothbrush to accomplish the same results. 2. If the instrument is played daily, the saxophone neck should be cleaned weekly (and swabbed out each day after playing).

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3. Use the bottlebrush and mild, soapy water to clean the inside of the neck. 4. Rinse under running water. 5. Sterisol germicide solution may be used on the inside of the neck at this time, if desired (not necessary). Place on paper towel for one minute. 6. Rinse again under running water, dry, and place in the case. 7. If using padsavers, do not leave the padsaver inside the neck when packed away.

Cleaning Brass Mouthpieces 1. Mouthpieces should be cleaned monthly. 2. Using a cloth soaked in warm, soapy water, clean the outside of the mouthpiece. 3. Use a mouthpiece brush and warm, soapy water to clean the inside. 4. Rinse the mouthpiece and dry thoroughly. 5. Sterisol germicide solution may be used on the mouthpiece at this time. Place on paper towel for one minute. 6. Wipe dry with paper towel.

Other Instruments 1. String, percussion, and keyboard instruments present few hygienic issues that cannot be solved simply by the musician washing their hands before and after use.

Noise-Induced Hearing Loss Note - The information in this document is generic and advisory in nature. It is not a substitute for professional, medical judgments. It should not be used as a basis for medical treatment. If you are concerned about your hearing or think you may have suffered hearing loss, consult a licensed medical professional. Part of the role of any professional is to remain in the best condition to practice the profession. As an aspiring musician, this involves safeguarding your hearing health. Whatever your plans after graduation - whether they involve playing, teaching, engineering, or simply enjoying music - you owe it to yourself and your fellow musicians to do all you can to protect your hearing. If you are serious about pursuing a career in music, you need to protect your hearing. The way you hear music, the way you recognize and differentiate pitch, the way you play music; all are directly connected to your hearing. Music & Noise In the scientific world, all types of sound, including music, are regularly categorized as noise. A sound that it too loud, or too loud for too long, is dangerous to hearing health, no matter what kind of sound it is or whether we call it noise, music, or something else. Music itself is not the issue. Loudness and its duration are the issues. Music plays an important part in hearing health, but hearing health is far larger than music.

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Noise-Induced Hearing Loss (NIHL) We experience sound in our environment, such as the sounds from television and radio, household appliances, and traffic. Normally, we hear these sounds at safe levels that do not affect our hearing. However, when we are exposed to harmful noise-sounds that are too loud or loud sounds that last a long time-sensitive structures in our inner ear can be damaged, causing noise-induced hearing loss (NIHL). These sensitive structures, called hair cells, are small sensory cells that convert sound energy into electrical signals that travel to the brain. Once damaged, our hair cells cannot grow back. NIHL can be caused by a one-time exposure to an intense "impulse" sound, such as an explosion, or by continuous exposure to loud sounds over an extended period of time. The humming of a refrigerator is 45 decibels, normal conversation is approximately 60 decibels, and the noise from heavy city traffic can reach 85 decibels. Sources of noise that can cause NIHL include motorcycles, firecrackers, and small firearms, all emitting sounds from 120 to 150 decibels. Long or repeated exposure to sounds at or above 85 decibels can cause hearing loss. The louder the sound, the shorter the time period before NIHL can occur. Sounds of less than 75 decibels, even after long exposure, are unlikely to cause hearing loss. Although being aware of decibel levels is an important factor in protecting one's hearing, distance from the source of the sound and duration of exposure to the sound are equally important. A good rule of thumb is to avoid noises that are "too loud" and "too close" or that last "too long." It is very important to understand that the hair cells in your inner ear cannot regenerate. Damage done to them is permanent. There is no way to repair or undo this damage. According to the American Academy of Audiology, approximately 26 million Americans have hearing loss. One in three developed their hearing loss as a result of exposure to noise. As you pursue your day-to-day activities, both in the Department of Music and in other educational, vocational, and recreational environments, remember: 1. Hearing health is essential to your lifelong success as a musician. 2. Your hearing can be permanently damaged by loud sounds, including music. Technically, this is called Noise-Induced Hearing Loss (NIHL). This danger is constant. 3. Noise-induced hearing loss is generally preventable. You must avoid overexposure to loud sounds, especially for long periods of time. 4. The closer you are to the source of a loud sound, the greater the risk of damage. 5. Sounds over 85 dB (your typical vacuum cleaner) in intensity pose the greatest risk to your hearing. 6. Recommended maximum daily exposure times to sounds at or above 85 dB are as follows: 85 dB (vacuum cleaner, MP3 player at 1/3 volume) - 8 hours 90 dB (blender, hair dryer) - 2 hours 94 dB (MP3 player at 1/2 volume) - 1 hour 100 dB (MP3 player at full volume, lawnmower) - 15 minutes 110 dB (rock concert, power tools) - 2 minutes 120 dB (jet planes at take-off) - without ear protection, sound damage is almost immediate 7. Certain behaviors (controlling volume levels in practice and rehearsal, planning rehearsal order to provide relief from high volume works, avoiding noisy environments) reduce your risk of hearing loss. 8. The use of earplugs (Sensaphonics, ProGuard, Sensorcom) helps to protect your hearing health.

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9. Day-to-day decisions can impact your hearing health, both now and in the future. Since sound exposure occurs in and out of the Department of Music, you also need to learn more and take care of your own hearing health on a daily, even hourly basis. 10. If you are concerned about your personal hearing health, talk with a medical professional. 11. If you are concerned about your hearing health in relationship to your study of music, consult with your applied instructor, ensemble conductor, or Department Chair.

Resources - Information and Research Hearing Health Project Partners National Association of School of Music (NASM) http://nasm.arts-accredit.org/ Performing Arts Medicine Association (PAMA) http://www.artsmed.org/index.html PAMA Bibliography (search tool) http://www.artsmed.org/bibliography.html

General Information on Acoustics Acoustical Society of America (http://acousticalsociety.org/) Acoustics.com (http://www.acoustics.com) Acoustics for Performance, Rehearsal, and Practice Facilities Available through the NASM Web site Health and Safety Standards Organizations American National Standards Institute (ANSI) (http://www.ansi.org/) The National Institute for Occupational Safety and Health (NIOSH) (http://www.cdc.gov/niosh/) Occupational Safety and Health Administration (OSHA) (http://www.osha.gov/) Medical Organizations Focused on Hearing Health American Academy of Audiology (http://www.audiology.org/Pages/default.aspx) American Academy of Otolaryngology “Head and Neck Surgery (http://www.entnet.org/index.cfm) American Speech-Language-Hearing Association (ASHA) (http://www.asha.org/) Athletes and the Arts (http://athletesandthearts.com/) House Research Institute "Hearing Health (http://www.hei.org/education/health/health.htm) National Institute on Deafness and Other Communication Disorders â€" Noise-Induced Hearing Loss (http://www.nidcd.nih.gov/health/hearing/noise.html) Other Organizations Focused on Hearing Health Dangerous Decibels (http://www.dangerousdecibels.org) National Hearing Conservation Association (http://www.hearingconservation.org/) http://nasm.arts-accredit.org/site/docs/PAMA-NASM_Advisories/1_NASM_PAMA-Admin_and_Faculty_2011Nov.pdf