Pacific Union College Department of Music
Music StudentHandbook
2016 - 2017
One Angwin AvenueAngwin, CA 94508(707) 965-6201FAX (707) 965-6738
www.puc.edu/academics/departments/music/home
Instructions for filling out electronic PDFs
Many of the forms used in the Department of Music are interactive PDFs. You can find these forms on the PUC Music home page, and on CANVAS. You may also e-mail the office and request that the form be e-mailed to you. It is important that you open and fill out the form properly. Instructions for filling out on-line PDFs: You must have Adobe Reader on your computer to properly save and enter information in interactive PDFs. You can download Adobe Reader for free by going to http://get.adobe.com/reader/ Log in to CANVAS - Clickonthefirsttabnamed“Courses”–scrolldownto“MusicMajors”. –OnleftsideclickonFiles–MusicMajorsfolder–FORMS - Click on the form you want. The document will be downloaded to your computer and open. (You should see a sentence at the top indicating that you can save data in this form). - Enter your information. - Save As... and enter your last name at the beginningofthefilename. Itissuggestedthatyousavethefiletoyourdesktopsoitiseasytolocate. - E-mail the form to: [email protected] and to your teacher.
Dropbox.com
TheDepartmentofMusicutilizesDropbox.comasastoragefacilityforforms,Finaleprojects,etc.EachmusicmajorhasafolderinDropbox.comwhereyoucanstoremusicprojectsyouareworkingoninthecomputerlabsoyoucanaccess them from other computers.
Thereisafoldercalled!FORMS!thatcontainsvariousPDFformsyouwillneedthroughoutthequarter.Pleasedupli-cateaformandrenameitwithyourLASTnameatthebeginningofthenameBEFOREfillingitinsotheoriginalformisblankforthenextperson.YoucanreturncertainformstothemusicofficebyplacingthemintheappropriatefolderinDropbox:“Forms...toLinda”,oryoumaye-mailthemto [email protected].
Table of Contents
All the forms referenced in this handbook can be obtained from theMusic Office, from Dropbox.com or from CANVAS.
ii-iii MusicDepartmentCalendarofEvents
1-24 Academics
1 Degree Level Student Learning Outcomes
2 HowtoBecomeaMusicMajor
2-7 InformationforAllMusicMajors
3-4 Sophomore Evaluation
3-5 InformationforB.Mus.Composition&B.Mus.EducationMajors
6-7 Audition Guidelines
8-9 PrivateMusicLessons
10-11 Juries
12 CollegiuminMusic:Concert&RecitalAttendance
13-14 Tests
15 Portfolio
16-20 Recitals
21-23 Ensembles
24 Financial Information
25 MusicScholarships
26-27 Paulin Hall Facilities and Instruments
28 Paulin Center for the Creative Arts (PCCA)
28 MusicClub
29 Honors and Social Groups
30-34 Faculty and Staff
35 A Brief History
36-41 Policies and Guidelines
36 Practice Room Usage Policy
37 Computer Lab Usage Policy
38-39 Auditorium and Lobby Usage Guidelines
40-41 Kitchenette Usage Guidelines
42-44 Program Level SLO Rubrics
45 MusicCompositionRubric
46-59 Curriculum Guides
60 Index
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FALL Quarter 2016September 26 Monday INSTRUCTION Begins 29 Thursday LAST DAY TO ADD/DELETE CLASSESOctober 16 Sunday 4:00 pm Faculty Recital: Rachelle Berthelsen Davis, violin & Beverly Wesner-Hoehn, harp 7:30 pm Natalie Raney, cello & Rachel Kim, pianoNovember 14 Monday 6:00 pm PCCA Student Recital 15 Tuesday 6:00 pm PCCA Student Recital 18 - Nov. 27 THANKSGIVING RECESS 29 Tuesday 6:00 pm General Student Recital 30 Wednesday 6:00 pm General Student Recital December 4 Sunday 4:00 pm Symphonic Wind Ensemble Concert 7:00 pm String Ensemble Concert 9 Friday 8:00 pm Christmas Concert (PUC Church Sanctuary) 10 Sabbath 4:00 pm Christmas Concert (PUC Church Sanctuary) 11 Sunday 6:00 pm Listening Exam (Choir Room) 12 - 15 FINAL EXAMSDec. 16 - Jan. 8 CHRISTMAS RECESS
WINTER Quarter 2017January 9 Monday INSTRUCTION BEGINS 16 Monday NO CLASSES (Martin Luther king Jr. Day) 29 Sunday 7:00 pm Music Faculty Recital 30 Monday 6:00 pm PCCA Student Recital 31 Tuesday 6:00 pm PCCA Student RecitalFebruary 1 Wednesday 6:00 pm PCCA Student Recital 3 Friday NO CLASSES (Mid quarter Break) 11 Sabbath 4:00 pm Hans Hielscher Organ Recital (PUC Church Sanctuary) 21-25 Wed. - Sat. Academy Choral Festival 25 Sabbath 4:00 pm Academy Choral Festival Concert (PUC Church SanctuaryMarch 7 Tuesday 6:00 pm General Student Recital 8 Wednesday 6:00 pm General Student Recital 11 Saturday 7:00 pm Choral Concert 12 Sunday 4:00 pm Symphonic Wind Ensemble Concert 14 Tuesday 7:00 pm String Ensemble Concert 18 Saturday 8:00 pm Orchestra Concert 19 Sunday 6:00 pm Listening Exam
PACIFIC UNION COLLEGE DEPARTMENT OF MUSIC
2016 - 2017Calendar of Event
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Programs subject to changeAll programs in Paulin Hall Auditorium unless otherwise noted. (707) 965-6201 • www.puc.edu/music-events • www.puc.edu/pcca
March 20 -23 FINAL EXAMS 24 - Apr. 2 SPRING VACATION
SPRING Quarter 2017April 3 Monday INSTRUCTION BEGINS 22 Sabbath 4:00 pm Alumni Weekend Concert May 14 Sunday 4:00 pm Orchestra Concert 16 Tuesday 5:30 pm Golden State Choral Festival Concert (PUC Church Sanctuary) 21 Sunday 4:00 pm Symphonic Wind Ensemble Concert 22 Monday 6:00 pm PCCA Student Recital 23 Tuesday 6:00 pm PCCA Student Recital 24 Wednesday 6:00 pm PCCA Student Recital 27 - 29 MEMORIAL WEEKEND- NO CLASSES 30 Tuesday 6:00 pm General Student Recital 31 Wednesday 6:00 pm General Student RecitalJune 3 Saturday 8:00 pm Choral Concert 6 Thursday 7:00 pm String Ensemble Concert 11 Sunday 6:00 pm Listening Exam 12 - 15 FINAL EXAMS 18 COMMENCEMENT
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Degree Level Student Learning Outcomes(SLOs)
(Rubrics can be found on pages 42-45. Curriculum guides can be found on pages 46-59).
Successful Bachelor of Music major with an emphasis in Music Education will be able to • Demonstrateskillasasoloandensembleperformerwhocanworkasaprofessionaleducator. (SLO Rubric 1, page 42) • Applyspecificknowledgeinmusictheory,musichistory,andconductingrelevanttoaprofessional career as a music educator. (SLO Rubrics 2 and 3, pages 42-43) • AppreciatethediversityofmusicalstyleswithinandoutsidethetraditionalcanonofWesternmusic. (SLO Rubric 2, page 42) • Think,speak,andwriteclearlyandeffectivelyaboutmusic.(SLORubric2,page42) • Utilizeskillstoworkwithcurrenttechnologyinmusicnotationandsynthesis,andotherrelevant media. (SLO Rubric 4, page 43) • DemonstratetheappropriatepedagogicalskillsnecessarytofunctionasaneffectiveK-12music educator. (SLO Rubric 5, page 44)Curriculum Guide, page 48-49 (yellow)
Successful Bachelor of Music major with an emphasis in Composition will be able to • Demonstratealevelofcompetenceasasoloandensembleperformerappropriateforacomposer (SLO Rubric 1, page 42) • Applycreativeknowledgeinmusictheory,musichistory,andbasicconductingrelevanttoacomposer. (SLO Rubrices 2 and 3, pages 42-43) • AppreciatethediversityofmusicalstyleswithinandoutsidethetraditionalcanonofWesternmusic. (SLO Rubric 2, page 42) • Think,speak,andwriteclearlyandeffectivelyaboutmusic.(SLORubric2,page42) • Utilizeappropriateskillstoworkwithcurrentmediainsynthesis,notation,andvisualmedia (SLO Rubric 4, p. 43) • ComposemusicintheWesternconcerttradition,musicforvisualmedia,andmusicforothertraditions or cultures. (SLO Rubric 5, page 44)Curriculum Guide, page 46-47 (orchid)
Successful Bachelor of Science Music major will be able to • Demonstratealevelofcompetenceasasoloandensembleperformerappropriateforamusicianedu- cated in the liberal arts. (SLO Rubric 1, page 42) • Applyspecificknowledgeinmusictheory,musichistory,andbasicconductingrelevanttoamusician educated in the liberal arts. (SLO Rubrics 2 and 3, pages 42-43) • AppreciatethediversityofmusicalstyleswithinandoutsidethetraditionalcanonofWesternmusic. (SLO Rubric 2, page 42) • Think,speakandwriteclearlyandeffectivelyaboutmusic.(SLORubric2,page42) • Utilizefoundationalskillsincurrenttechnologyinmusicnotationandsynthesis.(SLORubric4,page43)Curriculum Guide, page 50-51 (green)
Successful Associate of Science Music major will be able to • Demonstratealevelofcompetenceasasoloandensembleperformerappropriateforaconnoisseur musician. (SLO Rubric 1, page 42) • Applyfoundationalknowledgeinmusictheory,musichistory,andconducting. (SLO Rubrics 2 and 3, pages 42-43) • AppreciatethediversityofmusicalstyleswithinandoutsidethetraditionalcanonofWesternmusic. (SLO Rubric 2, page, 42)Curriculum Guide, page 52-53 (blue)
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ACADEMICS
Information for all Music Majors
Allmusicmajorsshouldstudytheinformationconcerningthegeneraleducationrequirementsrelevant toyourdegreefound in the Pacific Union College General CatalogfortheyearyoustartedatPUC.Inaddition,allmusicmajorsshouldbefamiliarwiththespecificmusicmajorrequirementsasfoundonpages129-136oftheGeneral Catalog. These are the coursesyoumustpasswithatleasta“C”toreceiveyourdegree.BachelorofMusicvoiceperformanceemphasismajorsarerequiredtocompletesatisfactorilyoneyearofFrench,German,orItalian.Youradvisorwillhelpyouthroughtheintricaciesoffiguringoutyourprogram,but YOU are ultimately responsible for the classes you take and for achieving your degree.
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How to Become A Music Major (Privatelessonfeewillbewaivedifallrequirementsaremeteachquarter.)
Step 1-Onyourapplicationtothecollege,statethatyouwanttobeamusicmajor.Ifyouarealready enrolledatPUC,youcansubmitachangeofmajorthroughtheRegistrar’sOfficeoronlineinWebAdvisor.
Step 2-Passanentranceauditioninyourmajorinstrumentorvoice(seepage6-7forauditionrequirements).
Step 3-REGISTERforMusicPerformanceLessons: •MUSP163ifyoupassanentranceaudition. •MUSP162ifyouhavenotpassedanentranceauditionyouareconsideredapre-musicmajor. Ifyoudonotpassanentranceauditionatthebeginningofyourfirstquarter,andyouhavedeclaredamusic degreeonCANVAS,preparetoholdanentranceauditionattheendofyourfirstquarter.Ifyoupassyour entranceauditionandareacceptedasamusicmajor,theprivatelessonfeewillbewaived,andyoucanregister forMUSP163thefollowingquarter.
Ifyoudonotpasstheentranceauditionattheendofyourfirstquarter,youwillbechargedaPre-MusicMajor lessonfeeof$125forthatquarter,andeachquarter,uptothreequarters,oruntilyoupass.Ifyoudonotpass afterthreequarters,youwillbechargedthefullfeeof$250untilyoupassandareacceptedasamusicmajor.
You will receive a Lesson Fee Waiver each quarter you meet the requirements listed on page 8.
Step 4-RegisterforMUTH121and121L(TheoryI)andtake the TheoryPlacementExamination (TPE) offered duringthefirstweekofclasses.IfyoudonotpassthisexamyouwillberequiredtodropMUTH121andtakeMUTH103(FundamentalsofMusicTheory)Springquarter.
Step 5 - Pass the PianoProficiencyTest(PPT)duringthefirstweekofclasses.Ifyouhavelittleornopianobackground,youwillneedtotakepianolessonsuntilyoupassthePPT.CometotheMusicOfficeandpickupaChange of Registra-tion Request form to add piano lessons to your schedule. (See page 13 for more information). Step 6-RegisterforMUENEnsemble(s)relevanttoyourmajorinstrument(Seepages21-22forlistofensembles).Auditionsareheldduringthefirstweekofschool.(Seepage23 for Audition Guidelines). Step 7-LettheDepartmentofMusicchairknowthatyouareworkingtowardamusicdegree.
Step 8-Meetwithyouradvisortodiscussyourprogramandgooverthemusicstudenthandbook.
Step 9 -Passaformaljuryattheendofthefirstquarterinresidence(seepage10-11forjuryinformation).
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Credit Hour Policy
OnequartercreditatPacificUnionCollegegenerallyrepresentsaminimumof30hoursofworkonthepartofthestudent.The student work includes both classroom instruction and out-of-class work, and is typically spread out over the standard quarter(tenweeksofstandardinstructionandoneweekoffinalexaminations).Acoursemaybeofferedinatermofadifferentlength,butitmustcontainthesamecontacttimeandout-of-classstudentworkexpectationsasthesamecourseofferedduringastandardacademicquarter.
Coursesthatarelistedforvariablecreditswillspecifyhowcreditvalueisassigned,andrequirementswillbeclearlydelin-eated for each credit value offered.
Credit Hours by Instructional MethodsCredit hours for a course should be assigned according to the guidelines for the instructional method of the course. A coursemaycombinemultiplemethodsofinstructiontocomposethecredittotal.Forexample,manycoursesatPacificUnion College combine lecture and laboratory components. • Standard Courses Lecture, seminar, discussion, examination Valuedatonecreditfor50minutesofclassroominstructionperweek,withanormalminimumexpecta- tion of two hours of out-of class student work per week per credit. An additional two hours of instruction and/ortestingoccursforeachcourseduringfinalexaminationweek. • Activities Supervised as a Group Laboratory, clinical, group practicum, exercise science activity, music ensemble, group art studio, dramatic performance, workshop Valuedatonecreditfor150minutesofsupervisedactivityperweek.Whentheactivityinvolvessub- stantial out-of-class student work, the meeting time may be reduced to 100 minutes of supervised activity per week.
• Individualized Courses Directed study, independent study, project, research, thesis, fieldwork, internship, externship, individual practicum, flight training, music lessons, private art studio Valued at one credit for a minimum of three hours of student work per week as assigned and evaluated by theinstructor.(Equivalentto25hoursofinsturment/voicepracticeoutsideoflessons).
Sophomore Evaluation (B.Mus. Education, B.Mus. Performance & B.S.)
Duringthesophomoreyearallbachelorsdegreemajors,aftercompletingatleast90creditsasacceptedbyPUC,willmeetwith the music faculty for an evaluation and present their “Statement of Personal Goals”.Thepurposeofthismeetingisto provide an opportunity for you and the faculty to talk together about a career in music. This evaluation is an important steptowardfulfillingtherequirementsforyourdegreeandyouwillwanttopreparewell.Ifyoupassthisinterviewprovi-sionally,youmusttakeaformaljuryeveryquarteruntilyoucansuccessfullypassthisevaluation.
Prior to the evaluation, create your Statement of Personal Goals on CANVAS in consultation with your teacher following the instructions below, and e-mail it to [email protected] before your evaluation.
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you should remain in close contact with your education and music advisers to be aware of new requirementswhich might not be in this handbook or the General Catalog. In order to obtain your teaching credential you willneedtotaketherequiredcourses,andthenpasstheCaliforniaSubjectExaminationforTeachers (CSET) inMusic.
Information for B.Mus. Composition & B. Mus. Education MajorsPiano Proficiency Test (PPT)AllB.Mus.CompositionandB.Mus.EducationMajorsarerequiredtopassthePPT(page13).Thisexaminationshould be taken and passed by the end of the sophomore year or you will not be promoted into UD lessons in your major instrument andwill have your status as amusicmajorreviewedeachquarteruntilitispassed.
Information for B. Mus. Education MajorsIf you are aB.Mus.Ed. emphasismajor you should beacquaintedwiththeinformationonpages 130-131 of the General Catalog. Be aware that teacher education can-didates must maintain a minimum cumulative GPA of a least 2.5 overall and 2.7 in upper division music courses, in order to be eligible for student teaching. Because state requirementschangeinthemusiceducationcurriculum,
BeforeBachelorofMusicstudents(educationemphasis)canbeacceptedintotheDirectedTeachingprogram,theymustberecommendedbytheMusicDepartmentfacultyashavingpromiseofsuccessintheclassroom.Belowisasummaryof the competencies and personal attributes considered, as well as the process involved. After considering these items, the facultydeterminewhetherastudentcanberecommendedwithoutqualification,recommendedwithreservation,orshouldnot be recommended. Upon completion of this degree, the graduate is granted both California State Preliminary and SDA Basiccredentialsthatqualifyonetoinstructinallphasesofmusicfrompreschoolthroughgradetwelve.
Information for B. Music Education MajorsCompetencies, Qualifications, and Procedures Involved in the
Recommendation Process For Student Teaching
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Music Education Majors • Your reason for choosing music teaching as your career.•Personalcharacteristics,qualificationsand potential you have that will contribute to your success.•Areasinwhichyoucanmakeastrongcontribution to the profession.•Asummaryofyourteachingandconductingexperience.
B.S. and B.Mus. Composition Majors•Yourreasonforchoosingmusicasyourcareer.Ifnot pursuing a musical career, what are your career plans?•Personalcharacteristics,qualificationsandpotentialyou have that will contribute to your success in your career.•Areasinwhichyourmusicalskillscanmakeastrong contribution to your chosen career.•Ifmusicisyourcareerpath,provideasummaryofyourteaching,performing,and/orconductingexperience.
•[email protected].•Officemanagerwillprintoutcopiesforfacultyand1forfile,anddistributetofacultybeforetheevaluation,or,ifevaluationisscheduledduringformaljuries,thestatementwillbeincludedwiththejurysheet
Statement of Personal Goals Instructions•CreateyourstatementinMicrosoftWORD(orequivalent)•Includethefollowingintheheader: Presented to the Music Department Faculty of Pacific Union College By (insert your name here)•Enterthedateonthenextlinedown.•Dependingonyourdegree,yourgoalsshouldinclude:
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•StudentsmustmeettherequirementslistedinthePa-cific Union College General Catalog,under“Prerequi-sitesforStudentTeaching”,page92.
•Studentswillhavepassedcourseswhicharedesignedtohelppreparethemfortheteachingexperienceinmu-sic.Theyarealsoexpectedtodemonstratecompetencyin such areas as conducting and directing, ensemble musicselection,rehearsal techniques,organizationandsetup.
• Duringstudent’ssophomoreyear,B.Mus.EducationmajorsmeetwiththemusicfacultytodiscusstheirState-ment of Personal Goals (see previous page for more in-formation).
Personal characteristics also consideredMost students enter themusic curriculum impelledbytheir interest in performing. As the following comments will show however, the role of the music teacher is much broaderthanperformancealone.Whilethisisanimpor-tant skill for the classroom teacher and ensemble direc-tor, it is toward the profession of the teacher-conductor that students need to develop their skills and interests.
Therearemanyimportantqualitiesuniversallyexpectedof successful teachers. These may be arranged into sev-eral categories, two important ones being the personal/social area and the professional area.
Oneofthemostimportantqualitiesteachersmustpos-sess is the ability to interact pleasantly and construc-tively with their colleagues. Teachers should have a co-operative attitude toward their peers while pursing their ownprograms.Inaddition,theyshouldexhibitarespectfor their superiors and employers, developing a positive relationship with those who are charged with the respon-sibility of providing their employment and encouraging their professional development.
Emotionalmaturityisalsoexpectedofsuccessfulteach-ers: exhibiting patience, self control and cheerfulness.They should hold clear, accurate pictures of their own abilities and self worth. From this secure personal con-cept, they should develop constructive behavior responses when confronted with potentially unsettling situations. Such teachers can maintain positive relationships with individuals of various social, ethnic, and religious back-grounds. They are able to handle disagreements and con-troversy with patience, openness, and understanding, and are willing, when possible, to achieve mutual solutions. In addition, mature teachers are willing and able to learn from their errors, and to respond appropriately to con-structive criticism.
Professionally, successful teachers are able to set realistic andsignificantgoalsandcanplanandorganizeeffective-ly.Theyalsocontinuallyseek,evaluate,andutilizenewideasanddevelopmentsintheirfields,incorporatingtheseinto their teaching as they prove useful. Through their mastery of and enthusiasm for their subject, successfulteachers generate corresponding positive attitudes in their students–theresultofinstructionfromanactive,leader-catalyst rather than a passive participant.
Naturally, students entering the teaching program are not requiredtodisplaythesequalitiestotheextentexpectedofanexperienced,successfulteacher.Studentsshould,how-ever, show evidence that these qualities are developingand have the promise of further development as learning andexperiencecontinue.Itisassumedthatachievementsmade and relationships developed while attending school can be indicative of further directions of growth.
Teacher Placement FileThe Education Department keeps a placement file forstudents who are interested in seeking positions in non-Adventist institutions. For those seeking employment in church-related institutions, the International Adventists MusiciansAssociation(IAMA)publishesjobopeningsinthe“Hotline” sectionof itswebsite atwww.iamaonline.com.
Qualifications and Procedures
Audition GuidelinesTo Become A Music MajorSchedulea10minuteentranceauditionwithatleastthreeMusicfacultyandcomepreparedtoplaymaterialfromthefollowing list appropriate to your instrument and the degree you seek. If you feel you are not ready to perform an audi-tion,contacttheMusicDepartmentChairtoschedulelessonsinpreparationforyourauditioninthefuture.
PIANOB.Mus.andB.S. Prepare4octavescalesandarpeggiosforallmajorandharmonicminorforms. Preparethefollowingrepertoirethatshowsproficiencyinyourinstrumentatanintermediatetoadvancedlevel: • AselectionfromBach(shortpreludes,InventionsandSinfonias,PreludeandFugues) • AmovementfromaclassicalsonataofHaydn,Mozart,orBeethoven • ApiecefromtheRomanticortheContemporaryperiod • Memorization:Atleast2ofthepiecesforB.Mus.Perf.,or1ofthepiecesforB.S.andB.Mus.Ed • Sight-readingofselectedliteratureA.S. • Preparetwocontrastingpiecesfromstandardsolorepertoire
VIOLIN B.Mus.andB.S. • Thefirstmovementofastandardviolinconcerto(withthecadenzaifthereisone)orthelasttwomove- ments of a standard violin concerto OR • Twocontrastingconcertpieces(orsonatamovements)fromstandardsolorepertoireA.S. • Twocontrastingpiecesfromstandardsolorepertoire
VIOLAB.Mus.andB.S. • Twocontrastingpiecesfromstandardsololiterature • Performancemajorsonly:AtleastoneoftheseworksmustbememorizedA.S. • Twocontrastingpiecesfromstandardsolorepertoire
VIOLINCELLOB.Mus.andB.S. • Twocontrastingpiecesfromstandardsololiterature • Performancemajorsonly:AtleastoneoftheseworksmustbememorizedA.S. • Twocontrastingpiecesfromstandardsolorepertoire
DOUBLE BASSB.Mus.andB.S. • Twocontrastingpiecesfromstandardsololiterature • Performancemajorsonly:AtleastoneoftheseworksmustbememorizedA.S. • Twocontrastingpiecesfromstandardsolorepertoire
GUITARB.Mus.andB.S. • Twocontrastingpiecesfromstandardsololiterature • Performancemajorsonly:AtleastoneoftheseworksmustbememorizedA.S. • TwocontrastingpiecesfromstandardsolorepertoireHARPB.Mus.andB.S. • Twocontrastingpiecesfromstandardsololiterature • Performancemajorsonly:AtleastoneoftheseworksmustbememorizedA.S. • Twocontrastingpiecesfromstandardsolorepertoire
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WINDS AND BRASSB.Mus.andB.S. • Twocontrastingpiecesfromstandardclassicalrepertoire.Thesecanbeetudesormovements(excerpts)of sonatas/concertos.Baroquetranscriptions,classical,romantic,20thcentury. • Major/minorscalesupto5accidentals,chromaticfullrange. • B.M.PerformancemustplayatleastonepiecefrommemoryA.S. • Twocontrastingpiecesfromstandardsolorepertoire
PERCUSSIONB.Mus.,B.S.&A.S. • Twoofthreeareas:PASsnaredrumrudimentsandsolopiece;timpanietude(GoodmanMODERNMETHOD or Cirone);malletetude(GoldenbergorCirone)
VOCALB.Mus.,B.S.&A.S.Perform from memory two representative selections from the classical vocal repertoire. These works should be in contrastingstyle.Forexample: •AnItalianArtSongorAria. •AnEnglishArtSong.Sight-readingofaselectionmayberequired.Facultymayaskapplicanttovocalizesomescalestocheckvocalrange.
ORGANB.Mus.,B.S.&A.S.Perform two representative selections from the classical organ repertoire. These works should be contrasting in style.Forexample: •AmajorworkbyJ.S.Bach •AmajorworkfromtheRomanticortheContemporaryperiod.Maybeaskedtosightreadagivenportionoforganrepertoireandahymn.
COMPOSITION •Prepareatleasttwoshortpiecesincontrastingstyles •Presentthosepieceseitherinliveperformanceorthroughelectronicmedia
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Music Major LessonsOne (1) credit hour is equivalent to nine 30-minutelessonsperquarter. The lesson feeof$250per credithour,perquarterwillbewaivediftherequirementslist-edbelowin“How to Qualify for a Lesson Fee Waiver” are met.
– Bachelor of Music Majors: Studyinyourmajorperformanceareaisrequiredeachquarterinresidence.
– B.S. & A.S. Music Majors:Mustbeenrolledinmusiccoursesrequiredforyourmusicdegreeinordertoqualifyforthelessonfeewaiver.
– Pre-Music Majors: See page 9 for more information.
– Jury Performance: The jury is the final exam formusic lessons. Allmusicmajorsare toperforma jury(see page 10-11)eachquarterlessonsaretaken.Youmustcompleteatleast1formaljuryperyear.
Students are expected to be on time and attend everylesson. Unexcusedabsenceswillnotbemadeup. Ifateacher misses a lesson they will coordinate with the stu-denttomakeupthelessonbytheendofthefinalweekofthequarter.Ifastudentwithdrawswithinthefirsttwoweeksofthequarter,thefeewillbepro-rated.Afterthatno refunds will be given.
General Lessons - Non-Music Major FeesMUSP162/362 $250percrdithour,perquarterNon-credit $350perquarterbasedonnine 30-minute lessons
Private Music LessonsForm: Private Lesson Information Form
(DownloadfromCANVASorDropbox.Seeinsidefrontcoverofthishandbookforinstructions)
Pre-Music Majors MUSP162 PrimaryInstrument($250feewaivedifallrequirementsmet)Music Majors MUSP163/363 PrimaryInstrument($250feewaivedifallrequirementsmet) MUSP162 PianoProficiency($250feewaivedifallrequirementsmet) MUSP386 SecondaryInstrument(B/Mus.Ed.andCompositiononly) B.Mus.($250feewaivedifallrequirementsmet). B.S.&A.S.-willbecharged$125percredithourifallrequirementsmet. Non-Credit Allinstruments-$250percredithourperquarter
RegisteronWebAdvisorjustasyoudoforotherclasses.DeterminetheMUSP#fromtheclassschedule,thenchoosethe section number for your teacher. If the teacher of your choice is not listed, contact the Music Office for a section number.
Fill out an electronic Private Lesson Information Form (interactivePDF)duringthefirstweekofclasses,ifnotsoonerand e-mail to [email protected] to facilitate scheduling your lesson. Your teacher should contact you by the beginning of the second week of classes.
How to Qualify for a Lesson Fee Waiver
B.Mus. Music Majors - Education and Composition Theprivatelessonfeeforprimaryinstrument,secondaryinstruments,andpianoproficiencywillbewaivedfor majorswhomeetallofthefollowingrequirementseachquarterinresidence: - Pass an entrance audition or pass provisionally (see page 6-7). - Are registered for Theory classes, or have already taken these courses and are continuing to enroll incoursesnormallyexpectedofmajors. - Are enrolled in an ensemble relevant to your instrument. -Earna“B”orhigherinprivatelessons. - continued...
How to Register for Private Lessons
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B.S. & A.S. Majors Thefeeforprimaryinstrumentandpianoproficencywillbewaivedifaboverequirementsaremet. Secondaryinstrumentswillincuralessonfeeof$125percredithourifaboverequirementsaremet.
Pre-Music Majors If you have not passed an entrance audition, but have been accepted provisionally, and have declared a music degreeonCanvas,youshouldregisterforMUSP162(verifysectionnumberfroteacher).Thelessonfeewillbe waivedifyoumeettherequirementslistedabovein“How to Qualify for a Lesson Fee Waiver”, and pass your entranceauditionattheendofyourfirstquarter,andareacceptedasamusicmajor.
Ifyoudonotpasstheentranceauditionattheendofyourfirstquarter,youwillbechargedaPre-MusicMajor lessonfeeof$125percredithour.Youmustperformanotherentranceauditionattheendofnextquarterduring formaljuriesuntilyoupass(upto3quarters).Ifyoudonotpassafterthreequarters,youwillbechargedthefull lessonfeeof$250untilyoupassandareacceptedasamusicmajor.As a Pre-Major, you are expected to keep up with all music major requirements.
Choosing Your Music Performance TeacherMusicstudentsusuallyregisterforlessonsfromoneofthe regular music faculty. In cases when none of these teachers are qualified to teach a specific instrument orwhen the teachers in a performance area are too over-loaded to accept more students, special arrangements can be made to take from a different teacher on a commission basis. All requests to studywith commission teachersmust be made in writing to the department chair before thethirddayofclassesinorderforsucharequesttobeapproved by the music faculty. This rule applies even if you have studied with a commission teacher in previous yearsorquarters.
Applying for Upper Division (UD) Music Lessons(B.Mus. and B.S. only)Send an e-mail to [email protected] requesting permis-sion to register for UD. Evaluation will be made at your formaljury,andyouwillbenotifiedthroughyourQuar-terlyProgressReportattheendofthequarter.YouareexpectedtopassPPTIIbeforeyoucantakeupperUDlessons.
Practice Hours PolicyAminimumof25hourspercredithour,perquarter,ineachinstrumentisexpectedasoutsideworkforprivatelessons. Thismaybebelowtheamountrequiredforapassing grade. Refer to your syllabus for specific re-quirementsfortheteacheryouarestudyingwith.
You may obtain a practice card or full sheet practice log fromthemusicofficetorecordyoudailypractice.How to Get An “A”•Readyourlessonsyllabus.•Practice-practice-practice.Eachteacherhasspecificrequirements.Asageneral rule, a minimum of 4-6 hours of practice time each weekisrequiredforeachcredithourtaken.•TurninRepSheetbyFridayofdeadweek,or48hoursbeforeajuryonrecital(seepage10).Failuretoturnin Rep Sheet in time will affect your grade.•Scorehighonyourjuryperformance.Thejuryisthefinalexamforprivatelessons,soplanwell.Failuretoperformajurywillresultinanincomplete.
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Juries DefinedAllmusicmajorsmustcompleteajuryeachquarterles-sonsaretakenintheirmajorinstrument.Juriesarethefinalexaminationforyourprivate lessons. Thisexam,before at least three faculty members, is a way for the music faculty to keep informed of your musical progress. It helps you develop state presence, and provides you an opportunity to practice performing in a less stressful situ-ationthanrecitals.Inaddition,anapproachingjurymayhelp motivate you to practice more.
Repertoire SheetA Repertoire Sheet (Rep Sheet) is used to report all the pieces,scales,exercisesandetudesyouhavebeenwork-ingonduringthequarter.Itishighlyrecommendedthatyou update your comprehensive repertoire list for your e-portfoliosatthesametimeyoufilloutyourRep Sheet (see page 15 for more information about portfolios). Your Rep Sheetmust be turned in by Friday of “deadweek”or48hoursbeforea juryon recital. Failure toturn in your Rep Sheet will affect your lesson grade.
Note:Adegreerecitalisautomaticallyjuried,soyoudonothavetodoaformaljurythatquarter.Youmayturnin a Recital Program Repertoire form in place of the Rep Sheet.
Types of Juries•FormalJury:This10-minutejuryusuallyoccursdur-ing final examweek, and is held in the auditorium orchurchsanctuary(organists).Allmusicmajorsmustjuryatleastonceeachyearinthistypeofjury. -Signupforatimeslotatthemusicoffice beginning2weeksbeforetheformaljury. -TurninRepSheetbyFridayof“deadweek”, or48hoursbeforeajuryonrecital. -Onthedayofthejury,aschedulewillbe displayed on the auditorium door and at themusicoffice.Whenitisyourturn,one of the music faculty will come out to invite you in.
• JurybyRecital: Youmaychoose to juryduringaGeneralStudentRecital(GSR)oronasolo,jointorde-gree recital.
- GSRs - turn in 2 forms: General Student Recital Information Rep Sheet-Solo,jointordegreerecitals-turnin Recital Program Repertoire form
Jury Action/CommentsAtcompletionofyourjurythemusicfacultywillassignagradethatisreflectedinyourprivatelessongradeandwill write comments on your performance. Jury com-mentswillbe includedwithyourquarterlyprogress re-port (see page 14 for info about the progress report.
What if I can’t hold a jury?Sincethejuryisthefinalexamforyourprivatelessons,if youdonot complete a juryyouwill have to take anincompleteforthatquarter.Talktoyourteacherassoonaspossibletorequestanincomplete,whichmustbeap-proved by the music faculty. The incomplete must be completed by the due date.
What to Perform on a JuryJury repertoire is selected during your lesson in consulta-tionwithyour teacher.Generally, repertoirewill reflectyour ability to handle music at the level for which you are registered. You should try to select works from different styleswithavarietyoftechnicalchallengesfromquartertoquarter.
Atyourjuryyouwillbeaskedtoperformyourjuryse-lections, or portions of these selections and possibly play some technical exercises or scales and sight read.Youshould know and be able to discuss information about your pieces such as the date of birth and death of the com-posers, as well as theory and background of the pieces.
Jury Evaluation GuidelinesThe following list will give an idea of some of the factors thatareconsideredinajuryevaluationandyourperfor-mancegradewhich isbasedon theMusicPerformanceRubric on page 45.
JuriesForm: Repertoire Sheet
(DownloadfromCANVASandDropbox.Seeinsidefrontcoverofthishandbookforinstructions)
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Techniquea) Embouchureb) Tonguingc) Bowingd) Vibratoe) Position, posturef) Keyboardtechniqueg) Pedaling (organ, piano, harp)h) Registrationi) Breathing, supportj) Intonationk) Tonequalityl) Diction
Miscellaneousa) Progressb)Interviewquestions
General Musicianship a) Tempo (speed, stability, rubato, variations) b)Rhythm(precision,twoagainstthreeandothercomplexities,rhythmicaccents) c) Pitchaccuracy(inaccuraciesor“mistakes”) d) Dynamics (crescendo, diminuendo, accents, sectional contrast, strata) e) Phrasingdelineationofdifferentmusicalstatements,intensityvariation,“breathing”,feelingtheformandmelody f) Articulation (legato, staccato, slurring, glissando, portamento, portato) g)Style(historicalintegrity,captureofthe“mood”) h) Stagepresence(approachanddeparture,acknowledgingapplause,displayofconfidence,verbalexpressions,mannerisms, general appearance).
Jury Grading Scale
A 4A- 3.7B+ 3.3B 3B- 2.7C+ 2.3C 2C- 1.7D+ 1.3D 1
Composition Majors - within the musical language you have chosen for your piece:
GeneralMusicianshipa) Craftb) Creativityc) Personal Voiced) Effectiveness with the audience
Techniquea) Thematic developmentb) Harmonyc) Counterpointd) Forme) IdiomaticWritingforInstrumentsf) Masteryoftechnology
Miscellaneousa) Progressb) Number of premieres/performancesc) Interviewquestions
Jury Evaluation Guidelines
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Philosophy of AttendanceExperiencingtheenergyofliveperformancewithoutthepressure of performing yourself is a wonderful way to remind yourself of the power of music as well as pro-vide you the opportunity to study the art of stage pres-ence and the traditions of stage etiquette by observingmaster performers such as those scheduled on the Fine Arts Series concerts. Students who are serious about their musical training will take every opportunity to enhance their musicianship and support the music faculty and fel-low students by attending recitals and ensemble concerts. Discovermusicyouhaven’t heardbefore, andfind in-spiration to spend more productive time in the practice room.
How to Receive CreditAn attendance taker will be at most campus concerts. You must check in and out in order to receive credit.•Checkinnolaterthan5minutesafterthestartoftheprogram with the attendance taker in the lobby. (Late arrival may prevent you from receiving credit).•Stayfortheentireconcert/recital.(Leavingduringtheconcert and returning at the end will forfeit your right to credit, and is dishonest).•Checkoutwiththeattendancetaker.
Types of Concerts That Qualify• Music Department Concerts: You will receive onecredit for all concerts and recitals presented by the department that you attend as an observer.
• EnsembleConcertsThatYouParticipateIn:Forcon-certs featuring ensembles that you participate in, you will receive1creditforthatensembleperquarter,regardlessof how many times that ensemble performs (if you are in multipleensembles,youwillreceive1creditperquarterfor each ensemble you participate in).
• Evensong:You must submit a printed program signed byoneofthefacultytotheMusicOfficenolaterthan1week following the program.
• OtherConcertsonCampus:MusicEdmajorswillreceive 1 credit for attending ONE classical concert from the following: PUC Prep, PUC Elementary school, OR Paulin Center for the Creative Arts. If there is no at-tendancetakerattheconcert,submittotheMusicOffice,a printed program signed by one of the faculty no later than 1 week following the program.
• Off-CampusAttendance:Concertsmustbeclassicalin style, and you must submit a printed program to the MusicOfficenolaterthan1weekfollowingtheprogram.Mostoff-campusconcertswillreceive2credits.(Ifyouhaveanyquestionsaboutotherconcerts,speakwiththedepartment chair.)
Themajorityofconcertsattendedshouldbechosenfromthe “Calendar of Events” found on page ii and iii of this handbook. The most-up-to-date list can be picked up from theMusicOffice or youmaygoonline towww.puc.edu/music-events.
Etiquette for Recitals and Concerts• Attire -dressasyouwouldforchurchand inaccor-dance with the PUC Handbook Dress Code (see page 18).
•Arriveattheconcertontimeandbeseatedbeforetheconcert begins. If you are late, wait outside the audito-rium until an appropriate break in the program when applause is heard. Then please be seated quickly andquietlytowardthebackoftheauditorium.
• Refrain from talking, whispering, rustling papers,moving around, or leaving the auditorium during a per-formancetoavoidinterferingwiththeperformer’scon-centration or the attention of others in the audience lis-tening to what is being presented.
•Avoidtakingflashpicturesduringtheperformance,especially if a person is performing by memory.
•Applaudonlyattheendofmulti-movementworks:ifyou are unsure whether a piece is completed, wait until someone more knowledgeable begins clapping.
•Helpeducateothers(atappropriatetimes)aboutcor-rectconcertetiquettebyexample,writingapolitenoteorspeakingtothematbreaksinthemusic.Musicmajorsare the ones who must educate the audiences of the fu-ture, so now is not too early to begin.
Concert and Recital Attendance
Collegium in Music
AllmusicmajorsmusttakeMUHL101CollegiuminMusic(0.3credithours)eachquarterinresidence-uptotwelvequartersforB.Mus.andB.S.,andsixquartersforA.S.majors.Aspartofthiscourse,youwillneedtoattend7classicalconcertseachquarter.Belowareguidelinesforreceivingcreditandproperetiquetteforconcertsandrecitals.
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Theory Placement Examination (TPE)Register forMUTH121 and 121L (Theory I and lab).During thefirst twodaysofclass, theTPEwillbead-ministered todetermine if youhave sufficient theoreti-calbackgroundtobesuccessfulintheMusicTheoryse-quence.StudentswhodonotpasswillbeencouragedtodropMUTH121andtakeMUTH103(FundamentalsofMusicTheory)springquarterinpreparationforTheoryI.
Skills Needed to Pass TPE•Beabletorecognizemusicaltermsandsym- bols: identify notes in both treble and bass clefs, fermata symbols, repeat signs, etc•Knowhowtocreatemajorandminorscales(3forms)•Haveanunderstandingofhalfandwholesteps•Abasicunderstandingofrhythm:time signatures, note and rest values•Understandingofkeysignatures•Circleoffifths
Tests
Asamusicmajor,abasicunderstandingofpianotheoryandproficiencyis invaluable inreinforcingconceptsofmusic theory, for accompanying students at lessons, for readingmusicalscores,forexpressingmusicalconceptsto others, and for use in church and community servic-es.ThestateofCaliforniarequiresfunctionalkeyboardskillsofmusicteachersforcertification.
This piano proficiency test is administered at the firstmeetingofTheoryILab(MUTH121L).Ifyoudonotpass this exam, you are required to take piano lessonsuntiltheexamispassed.Ifyoudonotpassbytheendofthe sophomore year you may not be promoted into upper division(UD)lessonsinyourmajorinstrument,andmustcontinue to take piano lessons until you pass.
To register for piano proficiency lessons come to theMusicOffice andfilloutaChange of Registration Requestform,obtaintheappropriateMUSP162sectionnumber,gettherequiredsignaturesandreturnformtotherecordsofficebythefirstThursdayofthequarter.You will receive these lessons for free as long as you practiceatleast25hoursperquarterandrecordyourpractice hours regularly. Should you fail to do this, or if you receive a lesson grade lower than C-, you will be charged$250forthatquarter’slessons.
A.S. or B.S. students who wish to continue with piano lessonsafterpassingthePPTmayregisterforMUSP162, and will be charged $125 per credit hour per quarter.
B.Mus.studentsmaycontinuewithpianolessonsasasecondaryinstrument(MUSP386)atnocharge.
PPT Part I (A.S., B.S., & B.Mus. music majors)Thispartoftheexamtestsyourbasicpianoskills,andmustbepassedbyallmusicmajors(see#1-4belowunder Skills Needed to Pass).
Entrance Examinations
Piano Proficiency Test (PPT) Part I & II
PPT Part II (B.S. & B.Mus. music majors)ThispartoftheexamtestsmoreadvancedpianoskillsandmustbepassedbyallB.S.andB.Mus.musicma-jors(see#1-8belowunderSkills Needed to Pass).
Skills Needed to Pass
PPT I1.MajorandMinorScales:playinghandsseparatelyatamoderatetempoforoneoctave,ascendinganddescending.2. Sight read a simple two-hand, two-part piece.3.Bepreparedtoplayfive4-parthymns(selectedbyyourteacherifyouaretakinglessons).4.Showabilitytoharmonizeasimplegivenmelody.
PPT II5.AllMajorandMinorScales:playinghandsseparatelyfortwo octaves, ascending and descending.6.PreparedRepertoire:similarinstyleanddifficultyas: a)Bach,PreludeNo.1inCMajor(WTCI) b)MinuetinGMinor,fromAnnaMagdalenaBachBook c)Mozart,MinuetinF,K.2 d) Schumann, First Loss (Album for the Young)
Listening Exam and ClassHaving the opportunity to learn and study music that is part of the standard repertoire of classical music is important for all musicians. For some, this music will be familiar. For others, it may open a whole new world of music you have never heard before. All music majors who are taking courses relevant toward their degree must take one of two options:
1) Listening Exam - each quarter until graduation Returningstudentsmaychoosewhethertotakethelisteningexameachquarteruntilgraduation,ortaketheclassbelow thisspringquarter. AtthebeginningofthequarteralistofpiecesfortheexamwillbepostedonCANVAS.Youareexpectedtolistento and become familiar enough with these pieces so that you can identify the pieces, and list the associated composers and timeperiodsatanexamgivenattheendofthequarter.YourscorewillbepostedonCANVASundertheListening Examassignment. Bachelor degreestudentsareexpectedtopass10outof12exams. Associate of Science degreestudentsareexpectedtopass5outof6exams. If you do not pass the listening exam you may be charged a $50 fee. Thequarteryouaredoingadegreerecitalorstudentteachingyouareexemptfromtakingthelisteningexam.
2) Listening With Understanding (MUHL 205, 3 credits, Spring quarter) Incoming freshman who are taking any courses relevant toward their music degree must take this course which is offeredspringquarter.Thiscourseistobetakenbeforemusichistorycourses,andmustbetakenuntilpassed.
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7. Show ability to improvise off a chord chart.8.Sightreadinghymns:tobeperformedataslow,steadytempo,similarinstyleanddifficultyto: a)“MyMakerandMyKing”,SDAHymnal#15 b)“WhenISurveytheWondrousCross”,SDAHymnal#154 c)“GleamsoftheGoldenMorning”,SDAHymnal#205 d)“BeforeJehovah’sAwfulThrone”,SDAHymnal#82
Exit InterviewDuringthelastquarterbeforegraduationallmusicma-jorsarerequiredtodoanexitinterviewwiththedepart-ment chair during which time they will also take a short exitsurvey.Thepurposeofthisinterviewistoprovideanofficialopportunity for thestudentandchair todis-cuss what elements of the curriculum were successful and which (from the student’s perspective) could bereviewed or adjusted. Both the survey,whichwill beplaced in the student’sfile, and the exit interviewwillhelp the department assess its success in helping the stu-dent reach the student learning outcomes.
MFT TestTheMajorFieldTestisrequiredofall4-yearmusicma-jorsinordertograduate,andisproctoredbytheCoun-
seling Center. Please take this test very seriously. You willberequiredtotakeitnearthebeginningofyourlastquarterbeforegraduation. Youwill receivenotificationabout when and where you should take the test at least a week or two ahead of time, but the college calendar also showsthedatesitisgiveneachquarter.Thegraduationanalyst will not approve your graduation until this test has been taken. Results for this test are often useful for entrance into graduate school, and future employers may also be interested if you share the results with them.
GNST 401All graduating seniors from PUC are required to takeGNST 401 - Senior Assessment Seminar. This class meetsweekly for two hours and fifteenminutes duringspringquarter,andisarequirementforgraduation.
Attheendofeachquarteryouwillreceiveareportthatliststherequirementsyouhavefulfilled,aswellascharges(ifany)thatwillbeappliedtoyourschoolbill.Italsolistswhichcoursenumberinperformancestudiestoregisterfornextquarter.Itwillbee-mailedtoyoushortlyaftertheendofthequarter.Pleasereadthereportcarefully,andnotifytheof-ficemanagerofanydiscrepancies.Reportincludes:
Quarterly Progress Report
- Entrance audition passed-PrimaryinstrumentMUSPcoursestaken,credithoursandgradereceived-PianoProficiencycoursestaken,gradereceivedandexampassed- Seceondary instrument courses taken, credit hours and grade received- Rep Sheet turned in on time
- Jury comments and grade- Approval to move to upper division-TheoryPlacementExamresult-ListeningexamresultsorMUHL205passed
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•Demonstratealevelofcompetenceasasoloand Insufficient Adequate Strong VeryStrong ensemble performer appropriate for a musician Evidence Evidence Evidence Evidence educated in the liberal arts. (SLO Rubric 1)
•Applyspecificknowledgein Insufficient Adequate Strong VeryStrong •musictheory Evidence Evidence Evidence Evidence
•musichistory
•conducting relevant to a musician educated in the liberal arts. (SLO Rubrics 2 and 3)
•Think,speak,andwriteclearlyandeffectively Insufficient Adequate Strong VeryStrong about music. (SLO Rubric 2) Evidence Evidence Evidence Evidence
•Utilizefoundationalskillsincurrenttechnologyin Insufficient Adequate Strong VeryStrong music notation and synthesis. (SLO Rubric 4) Evidence Evidence Evidence Evidence
Sample Rubric 1: Portfolio Rubric for B.S. Majors
TheportfolioisrequiredofallB.S.andB.Mus.students.
The purpose of the portfolio is twofold: 1) It gives you the opportunity to track your progress as a musician andtodeveloptoolsthatwillhelpyouwhenyouapplyforajob.2)Itprovidesausefulassessmentmeasurefor the department so we can see how we can grow and improve as a department. As such, at your last port-folioevaluation,thedepartmentwillexamineitaccordingtotheportfoliorubricbelow.Itisexpectedthatforeachelementintherubric,80%ofthestudentswillhavearatingof“AdequateEvidence”orhigher.
YourportfoliowillbestartedduringyourfirstyearasamusicmajorandshouldbepostedonCANVASunderyourname/ePortfolios.Studentswillmeetwiththedepartmentchairbeforemidterms,Springquartertoreviewtheirportfolioandexaminetheirprogressasmusiciansandmusicmajors.Yourportfoliogradeistiedto your senior recital and GNST 401 grades, and must be completed by the beginning of dead week of your lastquarter.
Theportfolioshouldcontainthefollowinginformation(thereisnosetformat-justcreatesomethingyoucanbe proud of): •Astatementofpurpose—ie:hereiswhyIamamusicianandchoosetostudymusic.Thismaychange over the course of four years. • CurriculumVitae: o List of studio teachers you have studied with. o Festivals or music related seminars you have participated in. o Any master classes you have performed in (list the visiting teacher). oListofrecitalsyouperformedonandensembleconcertsandothervenuesyou’vesoloedin (if applicable). o Skills you have honed (Finale, music technology, skills in orchestration, etc.) oMusicrelatedjobsyouhaveheld—paidorunpaid(ensemblelibrarian,set-upcrew, administrative helper, grader/reader, etc.) o Awards o Repertoire studied (optional but strongly recommended). AconvenienttimetoupdatethisiswhenyoufilloutyourJury/Repertoire Sheeteachquarter. • Atleastoneexampleofyourbestworkfromeachyearinresidence. • Audiooraudiovisualclipsofyourperformances(optional). • Ashortbio(tobeusedinconcertprograms). • Anyprogramnotesyouwritefortherecitalsyoudo. • Yourmusicalresume(optionalbutrecommended).
Portfolio
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Recitals(DownloadvariousformsfromCANVASorDropbox.Seeinsidefrontcoverofthishandbookforinstructions)
Why Have Recitals?TheMusicDepartmentencourageseverymusicstudenttosharemusicwithothersatleastonceduringeachquar-ter of lessons, no matter how simple the music. It is a good way to get to know and support each other. Also, it helps you to adapt (through repetition) to the stress of performing in public. There are a number of different kindsofrecitals:generalstudentrecitals(GSRs),juniordegree,seniordegree,andsolorecitals.Whicheverkindyou give, your participation must be recommended by your teacher and scheduling approved by the faculty.
General Student Recitals (GSR)GSRs provide an opportunity for you to share your mu-sicalperformanceabilitywithothers,and to“practice”performinginpublic. Mostmusicmajorswillperformon these recitals once each quarter. Fill out the forms:Rep Sheet & General Student Recital Information Turn these forms in via e-mail to [email protected] at least a week before the recital.Youmaydo2juriesperyearat aGSRwith your teacher’s permission butwill stillneedtodoaformaljuryonceayear.
Associate Degree and Non-degree Recitals Register for MUSP 289 • 15 minute recitalAllA.S.musicmajorsare required tocompleteanAs-sociatedegreerecital.Thisjuriedrecitalshouldbegivenduringyourlastquarterofstudywithyourteacher,andmust include at least 15 minutes of music chosen in con-sultation with your teacher. Program notes are optional. You may submit the Recital Program Repertoire form in place the Rep Sheet.
B.S.musicmajorswishing to receivecredit for anon-degreerecitalmayregisterforthiscourse:MUSP289.
Senior Degree Recitals(B.S.andB.Mus.Ed.) Register for MUSP 489 • 30 minute recitalAllB.S.andB.Mus.musicmajorswillpresentajuriedsenior degree recital of music chosen in consultation with your teacher. Senior recitals should be given during the lastquarterof studywithyour teacher. Programnotesare required. You may submit the Recital Program Rep-ertoire form in place the Rep Sheet.
B.Mus. Senior Degree Composition Recital/Project Register for MUED 489B.MusCompositionmajorsare required todoa seniorcomposition recital/project.Thismay take a variety offorms, and must be designed in consultation with your teacher. Program notes are required.
B.S. Senior Project Register for MUED 489B.S.musicmajorsmaypetitionthefacultytodoaSeniorProjectinsteadofaseniorrecital.Thisprojectmaytakeavariety of forms, and must be selected in consultaion with your teacher.
Joint or Special RecitalsAt some point, you (alone or with others) may decide to presentarecitaljustforfun.Suchnon-requiredrecitalsneedtobearrangedthroughyourteacherandtheMusicDepartment.Youmight,forexample,wishtoattempttowin the Certificate of Achievement (page 29). You would then give a recital each of your four years here at PUC. Or you might be invited to participate on a special recital presented by some of the more advanced students or de-partment teachers. Then again, perhaps you might wish topresentarecital just for thepure joyofsharingyourmusic with all of us.
Degree Recital GradesAtthecompletionofyourdegreerecital(A.S.juniororseniorrecital)theMusicfacultywillassignagradebasedontheMusicPerformanceRubriconpage45.Theywillalso write brief comments about your recital, which will beplacedinyourpermanentfileintheMusicOffice.Youmay discuss them with your teacher shortly after your re-cital.
Program Notes and Recital FormsA portion of your degree recital grade is based on the qualityofyourprogramnotes,andtheon-timesubmis-sionofyourrecitalmaterialstothemusicoffice.Receiptoflatematerialswillaffectyourfinalrecitalgrade. (see page 17-20 for details regarding your recital).
Repertoire/Performance ClassesNot-for-credit performance classes in various instruments andvoicearescheduledeachquarteraspartofyourper-formance studies (private lessons). These classes provide opportunities for practice in performing under low-stress situations in preparation for recitals and juries, and forpeer feedback. Teachers provide instruction in perfor-mancetechniques,stagemannersandappropriateattire.Whiletheseclassesarenotforcredit,individualteachersmayrequireattendance.
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Except for repertoire/performance classes and generalstudent recitals, you will need to do certain things be-sides practicing, to prepare for your recital. You will findtheSolo or Joint Recital Guide (pages 19-20 in this handbookandonCANVASunderFiles-MusicMajors-FORMS) helpful in planning your recital. It containsstep-by-step instructions for preparing the appropriate forms and what to do when.
• Printed Programs: All programs must be printed by theDepartment ofMusic in the standard departmentalformat. Be sure all your information is approved by your teacherandtothemusicofficeoneweekbeforeyourre-cital. You may submit a high resolution photo or graphic (JPG) for the front of your program.
• Program Assistants & Accompanists: You will need toaskfriendsandfellowmusicmajorstoassistyouwithvarious roles such as stage set-up, raising and lowering the piano, moving stands and chairs, etc. Any time-consuming set-up and take-down (such as curtains) is to be provided by your assistants. The department will not pay student employees to assist in recitals. It is certainly appropriate for you to provide a gift of appreciation to your assistants and accompanists. All those assisting you should dress appropriately, usually in black, and in ac-cordance with the PUC Student Handbook (see page 18).
• PA, Microphones and Lights: The department pro-vides a PA technician to operate the lights, microphone and audio recording for your recital. Be prepared to let the technician know your lighting and mic needs at least 24 hours before your recital. Using one of your printed programs, clearly indicate where you want lights turned upanddown,andmicsadjusted.Keepinmind,thetech-nician is not available to act as a stage hand or usher.
•Recording:TheDepartmentofMusicwillaudiore-cordyourrecitalforourfile. Youmayrequestacopy,however, the CD is not for public distribution and may not be copied or shared in any form, mechanical (real CD) or digitally.
Youmayvideorecordyourrecitalatyourownexpense.YoumayfindyourownvideographerorMediaServicescan do it for you (the cost will be put on your school bill). Itissuggestedthatthevideorecordingbeafixedrecord-ing to keep the costs and distractions during your recital down.NotifytheMusicOfficeandapprovalwillbesenttoMediaServices.Theywillcontactyouforspecifics.
• Ushers & Doors: The entrance doors to the recital hall make noise when opened or closed. Arrange with a teacher to decide which to lock and which to have un-lockedwiththecrashbardoggeddownforquieteropera-
tion. You should arrange for at least two of your mu-sicmajorfriendstoserveasushers.Informthemtoletpeople enter only at breaks between pieces.
• Decorations: If you have stage decorations, be sure they are removed and that the stage and lobby are left in good condition when the recital is over. (See pages 38-39 of this handbook for auditorium and lobby usage guidelines). You are responsible to delegate clean-up af-ter your recital.
• Piano, Harpsichord, etc.: Decide with your teacher which instruments you will need and arrange for them to be in the proper place for your use. Afterward, be sure they are returned to their original places if necessary.
• Reception & Coordinator: TheDepartmentofMusicdoes not generally provide receptions for student recitals. Wewillprovideatableandtheuseofthekitchenetteifyouwould like to arrange a receptionyourself. Makethe reception arrangements with your teacher, choose a coordinatorandcontacttheMusicOfficetocheckoutakitchenette key. (See pages 41 for guidelines and clean-ing instructions).
• Rehearsal: Inordertofamiliarizeyourselfwiththeauditorium instruments and acoustics you are guaran-teed a minimum of 4 hours of practice time in the audi-toriuminpreparationforyourrecital.Morehoursmaybe scheduled if the auditorium is available. Sign up for specific time slots at themusic office. Also,make ar-rangements for placement of instruments, stands, chairs, etc.Ifyoupracticejustbeforeyourrecital,remembertofinishpracticingat least20minutesbeforeyour recitalbegins to give your audience time to enter the hall.
• Conduct: Your recital should be performed in a pro-fessional manner. Acknowledge your audience in a gra-ciouswayonyourfirstbow.Iftheapplausecontinues,your return to the stage should be midway to the center of the stage. If applause still continues, include your ac-companist and those who have assisted you in your re-cital.
• Intermission: It is not our custom to have an inter-mission.Exceptionstothispracticearemadewhentheprogram is longer than one hour and/or the performance needs costumes or prop changes. After a very taxingpiece or group of pieces, you can leave the stage for a short period (two or three minutes).
• Encores: You may prepare an encore with your teach-er’sapprovaltobeperformedifitseemsappropriate.
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Planning for Your Recital
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• Attire: Your recital attire should be selected in consul-tation with your studio teacher, and in accordance with the Attire guidelines below and the PUC Student Hand-book Dress Code. Page turners, ushers and stagehands, whetheronoroffstage,areexpectedtodressappropri-ately in black. Consult the department chair if you have anyquestions.
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Attire Guidelines for Recital and Concert AttendeesDressing appropriately and modestly when attending recitals and concerts is appropriate and respectful. Coming to a musical event dressed in sweat pants, and a tank top is not appropriate attendance attire. (See the DRESS CODE below).
Attire Guidelines for Recital Performers
Women For GSRs: dresses and skirts should be modest and cover the knees when seated. Any slits in the skirt should end at the kneewhenseated.Slacksshouldbeloosefitting.Shouldersshouldbecovered.
For Formal Recitals: Tea-length skirts or longer are strongly recommended. Slits in the skirt should end at the knee when seated. Tops should cover the shoulders, and bodice in a modest fashion. No revealing, low-cut attire.
MenForGSRs:Longsleeveshirtwithtieanddresspants(likechurchclothes)areexpected.
ForFormalRecitals:Acoatandtieareappropriateforformalrecitals.Pantsshouldnotbetightfitting.Tuxedosareoptional.
DRESS CODE (From PUC Student Handbook)TheCollege’sdresspolicyguidelinesfollowbiblicalgoalsofmodestyandsimplicity.Studentsareencouragedtowearclothing appropriate to the occasion.
Shoes and sandals should be worn outside residence hall and in residence hall chapels and lobbies. Logos, pictures and working on clothes should be in harmony with Seventh-day Adventist principles.
TheCollegeencouragesstudentstorespecttheAdventisttraditionofdressing“jewelryfree”asasignofrespectingtheAdventistsubculture.Dressing“jewelryfree”atPUCisnotamatterofmorality,butratherapartoftheAdventistheritageof simplicity.
Furthermore,modestyshouldbeone’sguideindeterminingappropriateattire.Tight-fittinggarmentsandrevealingclothesare not considered appropriate for on-campus attire. Swimming and sports are all encouraged at PUC, but again, let mod-estybeyourguidewhenchoosingsomethingtoweartothefieldorthepool.
Shorts(nearthetopoftheknee)arefineinanylocationoncampusexceptinthechurchsanctuaryandtheDiningCom-mons during Sabbath hours.
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Name ___________________________________________________ Audition Date___________________________
Type of recital: Senior Junior A.S. Recital Date ____________________________ Other: ________________________________ All recital forms may be found on CANVAS and mustbedownloaded,filledoutonyourcomputerandreturnedviae-mailtotheofficemanagerandyourteacher. #1 RecitalandAuditionDateRequest (InteractivePDF) #2 RecitalProgramRepertoire (WORDdocument) #3 RecitalProgramNotes (WORDdocument) #4 Resubmit#2withallrevisions (WORDdocument) #5 RecitalBiography&ThankYou (WORDdocument)
Instructions for filling out on-line PDFs: You must have Adobe Reader on your computer to properly save and enter information in this interactive PDF. You can download Adobe Reader for free by going to http://get.adobe.com/reader/ Log in to CANVAS - OntheleftsideofthewindowselectFiles–MusicMajors–FORMS - Click on the form you want. The document will be donwloaded to your computer and open. (Youshouldseeapurpleboxatthetopindicatingthatyoucansavedataintothisform). - Enter your information. - Save As... and enter your last name at the beginningofthefilename. Itissuggestedthatyousavethefiletoyourdesktopsoitiseasytolocate. - E-mail to: [email protected] and to your teacher. At least 3 months before your recital consult with your teacher about a recital date and what repertoire you will perform onyourrecital.CheckthemastercalendarintheMusicOfficeforpossiblerecital and audition dates, and download andfilloutform#1Recital and Audition Date Requestande-mailtotheMusicOfficeforyourrequesttobepresentedto the faculty for approval.
Attire: Start thinking about what you will wear at your recital. Recital attire should be selected in consultation with yourstudioteacher.TherearecataloguesintheMusicOfficethatyoucantakealookat. Women - Tea-length skirts or longer are strongly recommended. Slits in the skirt should end at the knee when seated. Tops should cover the shoulders (no spaghetti straps), and bodice in a modest fashion. No revealing, low-cut attire. Men - Acoatandtieareappropriateforformalrecitals.Pantsshouldnotbetightfitting.Tuxedosareoptional.
At least 1 week before your scheduled audition (which must be at least 1 month before your recital) prepare the Recital Program Repertoire form#2listingtheworkstobeperformedonyourrecital. Fill out the form in consultation with your teacher, than e-mail to [email protected] your form before your audition date so the form can be prepared for the audition committee who will refer to it dur- ing your audition. This document is the basis for your printed program, and must be submitted again with changes justbeforeyourrecital.
Hold your audition before the faculty and be prepared to present your entire recital, including all works to be performed byyouandotherartists.Uponfacultyapprovalofyouraudition,yourrecitaldatewillbeconfirmed.
Pacific Union College Music Department
Solo or Joint Recital GuidePreparing for your Recital
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Building Usage Guidelines: RefertotheAuditorium&LobbyUsageGuidelinesonpages36-37,andtheKitchenetteUsageGuidelinesonpages38-89(obtainextracopiesforyourassistantsfromtheMusicOfficeaswell).Youarerespon-sibleformakingsurethefacilityisleftcleanandorganized.
Arrange for Assistants (fellowmusicmajorsorfriends)tofulfillthefollowingroles: •Stagehand:Instructyourstagehandhowyouwantthestagesetup,how/whentoraiseandlowerthepianolid, place/remove music stands, move instruments or chairs, etc. • Ushers:tomonitordoorstominimizenoise. • Visualrecordingtechnician:ContacttheMusicOfficetoarrangeforMediaServicestorecordyourrecitalat yourexpense,orfindyourownvideographer. • Receptioncoordinator:MakesurethispersonhasacopyoftheKitchenetteUsageGuidelinesanddelegate persons to clean up after the reception. • Accompanist:Arrangethiswellinadvanceofyourrecital,astheaccompanist’smusicisoftenhardtolearn. Remember to properly acknowledge him/her during and at the conclusion of your performance. It is also ap- propriate to provide a gift of appreciation to your accompanist after the event.
Rehearsal Time:ArrangerehearsaltimeintheauditoriumwiththeMusicOffice.
At lease 2 weeks before your recital submit program notes: - Recital Program Notes • DownloadtheformfromCANVAS-Files-MusicMajors-FORMS. Type all information as it will appear in the printed program. Typically, program notes take up front and back of a half sheet ofpaperinsertedintheprogram.Ifyouhavetranslations,morepagesmayberequired,andyourpro- grammaybeprintedinabookletformat.Workwithyourteachertocreateprogramnotesthatare wordedprofessionallyandaren’taccidentlyplagiarized. • [email protected] and upload to CANVAS. At least 1 week before your recital, submit via e-mail, the following electronic forms to [email protected]: - Repertoire Sheet form#4listingallthepiecesyouhavebeenworkingonoverthequarter. - Resubmit your Recital Program Repertoireform#2withallchangesasitwillappearonprintedprogram. Be sure to specify FINAL in the title of your document. - Recital Program Biography & Thank You - You may submit a high-resolution jpg picture of yourself if you want it on the cover of your program.
Note: All information for the printed program must be discussed with your teacher for approval before submitting to the office. 09-16
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All majorsmustbeinalarge(primary)ensemblethatutilizestheirmajorinstrumenteachquarterinresidencewiththefollowingexceptions:•A.S.majorsarerequiredtobeinalargeensembleeveryquartertheyaretakingclassestowardtheirmusicdegree.•B.Mus.Ed.majorsdonothavetobeinalargeensembleduringtheirstudent-teachingquarter. AdditionalensemblerequirementsforB.Mus.Edmajorsareasfollows: •3quartersofchoralensemble •3quartersofinstrumentalensemble •1quartersmallensembleintheirmajorarea
MUEN100coursesarelowerdivisionLD(FreshmanandSophomore)MUEN300coursesareupperdivisionUD(JuniorandSenior)
Primary Ensembles
Allensemblesareopentobothmusicmajorsandcross-campusstudentsandaretypicallyauditioned.See page 23 of this handbook for audition guidelines.
Thefollowingensemblessatisfythemusicmajorlarge-ensemblerequirement:
Chorale(MUEN161or361)TTH•12:00-12:50pm•Room#132JenelleAnderson,Director–ext.6623Alargemixedchorusstudyingrepertoirefromalargerangeofstylesandperiods.Usuallyperformsonelargemusicalcompositionwithorchestraeachyear.Auditionsheldeachquarter,butmembershipispreferredforthe complete year.
I Cantori(MUEN154or354)MW•8:00-9:30p.m.•Room#132JenelleAnderson,ChoralDirector–ext.6623An SATB choral ensemble which studies literature from a variety of styles and periods. Performance op-portunitiesincludeoff-campustours.Auditionsareheldatthebeginningoffallquarteronly.StudentsinICantori must register for Chorale.
Orchestra (MUEN156or356)TTH•8:00-9:30p.m.•Room#144RachelleDavis,Director–ext.6655Anorchestraforadvancedstring,windandbrassplayersthatperformsconcertseachquarter,andoftencol-laborates with soloists and other ensembles, both on and off campus.
Symphonic Wind Ensemble(MUEN155or355)MWF•12:00-12:50pm•Room#144AsherRaboy,Director–ext.7137PUC’s“band”foradvancedinstrumentalistswhoperformawidevarietyofmusicinvarioussettings.Toursandworkshopshaveoccurredonanalternate-yearbasis.Membersareselectedbyaudition. Keyboard Ensemble(MUEN159or359)ByArrangementLynnWheeler,Director–ext.7323Beginning and advanced ensembles. Duets, duos, and large groups, sometimes with voices or other instru-ments. Both acoustic and electronic instruments used. Placement based upon auditions.
Guitar Ensemble (MUEN170or370) By ArrangementJonMendle,Director-ext.6651Beginningandadvancedensembles.Duets,trios,andlargegroups.Placementbaseduponauditions.Mayapplytohalfofthelargeensemblerequirementsforguitarmajors.
Ensembles
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Other Ensembles
Gospel Choir-Directed Group Study (MUEN296) By ArrangementDeBrinaWilliams,DirectorAcomprehensivesurveyofsacredmusicfromAfrican-Americanworshipexperiences.Studentsmeetregu-larlytoenhancetheskillsthatarespecificallygermanetovocalgospelmusicproduction.Avarietyofrep-ertoireandstylesarechosenattheconductor’sdiscretion,commensuratewiththegroup’sabilitytomeettheobjectivesofthecourseincludingperformanceopportunitieswhichareincorporatedtoassiststudentsinreachingacomprehensiveandinteractiveaestheticexperience.
Handbell Choir (MUEN186or386)ByArrangement•Room#108RosalieRasmussen,Director–ext.6627Beginning and advanced ensemble open to any student with music reading skills (by audition only).Performancesquarterlybothonandoffcampus.
Introductory String Ensemble(MUEN150or350)ByArrangement•Room#144LindaMarks,Director-ext.6204Beginning and intermediate string players perform music appropriate to the level of the group. Focus is on developingtechnique,musicianshipandensembleskills.Byaudition.
The following ensembles are dependent on student interest and teacher availability:MUEN150or360 IntroductoryStringEnsembleMUEN157or357 StringandPianoChamberMusicMUEN160or360 JazzEnsembleMUEN170or370 GuitarEnsembleMUEN175or375 FluteQuartetMUEN178or378 SaxophoneQuartetMUEN179or379 WoodwindQuintetMUEN180or380 BrassQuintetMUEN181or381 BrassEnsembleMUEN182or382 TromboneChoirMUEN184or384 StringQuartet
Registering for Ensemble CreditToregisterforanensemble,gotoWebAdvisor,loginandaddthecourse.Ifyouareafreshmanorasophomore,registerforanMUENcourseinthe100’s;andifyouareajuniororasenior,registerforoneinthe300’s.Thenbesuretoaudi-tionwithinthefirstweekofclassesinordertoensureyourplaceintheensemble,orsothatyoucandropthecourseandadd a different one in case you do not pass the audition.
Ensemble Overload Fee Waiver RequestIfbeinginanensembleexpandsyourclassloadto18hoursormore,obtainanEnsemble Overload Fee Waiver Request form(yellowhalf-sheetfromtheMusicOffice)andRequest for Overloadform(pink)withinthefirsttwoweeksofeachquarter,havetheensembledirectorsigntheyellowformandyouradvisorsignthepinkform.ReturntheyellowformtotheMusicOfficeandthepinkformtoRecordsOffice.Thewaiverwillbeprocessedmid-quarterandsubmittedtotheStudentFinanceoffice.Acreditwillshowuponyouraccountstatementfortheoverloadfee.
Audition Process to Join an Ensemble (see page 23).
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Audition Process to Join an Ensemble
To Join an Instrumental Ensemble
Auditioningisameansbywhichwedetermineifyouwillbesuccessfulintheensemble.Whilemostpeopleareac-cepted, auditioning does not guarantee admittance into the ensemble. •Atthebeginningofthequartersignupforanauditiontimeoutsidethemusicofficedoor. Ifyouraudtiontimeisafterthefirstrehearsal,cometothefirstrehearsalanyway. •Cometoyourauditionpreparedtoplayacoupleofpiecesorexcerptsthatdemonstrateyourtechnical abilityaswellasyourmusicalityandexpressivity.(Ifyouhaveonepiece/excerptthat demonstratesallaspectsofyourmusicianshipyoudon’tneedmorethanthatonepiece.)Alsobe prepared to play a scale that demonstrates your range on the instrument and do some sight reading. (Ifyoudon’thaveapiecepreparedbutyoustillwanttojoinanensemble,comeanywayandplaysomethingso we know what you can do with your instrument.) •Youwillbenotifiedbye-mailifyouareaccepted.
To Join a Vocal Ensemble
•ContacttheChoralDirectorviae-mailandersonjenelle@gmail.comorstopbyherstudio,PaulinHall#135,to schedule an audition. •Thechoraldirectorwillassessyourvocalrangeandmayhaveyousingasimplesong. •Whilemostpeopleareaccepted,auditioningdoesnotguaranteeadmittanceintotheensemble.
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MusicMajorPrimaryInstruments $250Feewaivedifrequirementsaremet(seepages8-9)
Pre-MusicMajorPrimaryInstrument $125(see page 9 for more information)
MusicMajorSecondaryInstrumentB.Mus.Ed.&CompositionMUSP386(feewaived)B.S. MUSP162or362$125A.S. MUSP162$125
MusicMajorAllNon-CreditLessons$250
GeneralPrivateLessons(non-majors)CreditLessons:MUSP162/362$250 Non-Credit: $350
Financial InformationPrivate Music Lesson Fees (based on nine 30-minute lessons)
Music and Supplies PurchasingTheMusicDepartmentcansupplyyouwithanymusicorinstrumentsuppliesyouneed(withteacherapproval).Ifthemusicneedstobeordereditusuallytakesaweekorsoforittoarrive.Thecost,plustaxischargedtoyourschoolbill.Batons,metronomesandotherlimitedsuppliesareavailableforpurchaseintheMusicOfficeandmayalsobechargedtoyour school account.
KeysBorrowing a key is a privilege, and you are responsible for the key and the use of the room or locker. Keys must be re-turned when you leave PUC or during exam week in June. Failure to return the key(s) will result in a $50 key charge, appliedtoyourschoolbillabouttwoweeksafterthequarterendsinJune.KeysmustbereturneddirectlytotheMusicOfficebythedeadlinetoavoidakeycharge.PlacethekeysinthespecifiedboxonthecounterorintheKEYDROPinthedoortoroom#101. There are no refunds for missing keys that are returned in another manner. Contact the Music Office for approval to keep your key(s) if you plan to stay over the summer. PUC is not rsponsible for lost or stolen items .
Jobs for Students(ContacttheOfficeMangertoapplyandforappropriatepaperwork). •Readersforteachers •EnsembleAssistants:librarians,ensembleset-up/take-down,attendancetaking,accompanyingstudiolessons, accompanying for choir and other ensembles. •MusicOfficeassistants(puttingupposters,assistingofficemanagerinvariousofficeduties,etc.). (Contact the office manager for an application) •PaulinCenterfortheCreativeArts(PCCA)employsanumberofstudentteachers.Thesejobspaynearly doubletheamountofotheron-campusjobsperhour.Toqualify,oneshouldfirsttakethepedagogyortech- nique/methodscourseintheareainwhichyouwanttoteach.ContactRosalieRasmussen,directorofPCCA, for more information and to set up an interview.
Musicians’ Health and SafetyThePUCDepartmentofMusicisrequiredbytheNationalAssociationofSchoolsofMusictoinformstudents,facultyandstaffofthehealthandsafetyissues,hazards,andproceduresinherentinmusicpractice,performance,teachingandlisten-ing.TheDepartmentofMusichasdevelopeda Health and Safety Manual that is updated periodically to guard against injuryandillnessinthestudyandpracticeofmusic.Itisamaroon binder locatedintheofficereceptionarea.Ifyoufindanarticleonlineorinaperiodicalthatyouthinkotherswillbenefitfrom,youarewelcometosubmitittotheofficefor inclusion in the manual.
YOU are the primary factor in your health and safety. You are personally responsible for avoiding risk and preventing injuriestoyourselfbefore,during,andafterstudyatPUC.ThepoliciesandproceduresdevelopedbytheDepartmentofMusicdonotalterorcancelyourindividual,personalresponsibility,orshiftpersonalresponsibilityfortheresultsofyourpersonal decisions or actions in any instance or over time to the college.
Post-Graduate Job Opportunities and Summer InternshipsPeriodicallythedepartmentreceivespost-graduatejobpostingsfromvariousuniversities,collegesandschools,aswellassummerinternshipopportunities. Youarewelcometoperusethebluebinderintheofficereceptionareaifyouareinterested.
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Application Priority Deadline: March 2, 2017ThefirstroundofapplicantswillbenotifiedbyApril1,2017.Iftherearestillscholarshipsavailableafterthefirstround,the department will review additional applicants until all scholarships are awarded.
How Current Music Majors May [email protected] stating that you would like to be considered for a scholarship. Include your name,degree,instrumentyouarestudyingandyourPUCID#.ApplicationmustbereceivedbyMarch2,2017tobeincludedinthefirstroundofawards.Ifascholarshipisawardedtoyou,aletterwillbesenttoyouandyouwillneedtonotifytheDepartmentofMusicofyouracceptanceofthescholarship.
New Student ApplicantsGo to www.puc.edu/scholarshipsanddownloadtheapplication,orrequesttheapplicationfromtheDepartmentofMusicbysendingane-mailinquiryto [email protected]. Complete the application and e-mail it with the items listed below to [email protected],2015tobeconsideredinthefirstroundofschol-arships awarded. All materials may be mailed if you prefer.
Items to prepare:1.AnessayexplainingyourinterestinmusicandwhyyoushouldreceiveascholarshipfromtheDepartmentofMusic. 2. The names of 2 people we may contact for references. This would include your most recent music teacher and someone who knows your musical skills, such as a church music director or band director. Your refer- ences should not be anyone related to you.3.Ahighqualityvideoofyourbestsoloperformance(groupperformanceswillnotbeaccepted).SubmityourrecordedauctionasMP4,YouTubefileoryoumaymailaDVDwithapplicationandallmaterialslistedhere.Youmayrequestaliveauditionifyouareplanningtobeoncampus.
Audition GuidelinesBe prepared to perform two or three pieces from the standard literature for your instrument or voice that demonstrates your musicalityandtechnicalskill.Pleaseselectworksthathavecontrastingstyles-fastandtechnical;slowandlyrical.Eachpieceshouldgenerallybebymemoryandbebetween3and10minuteseach,withpreferencegiventomemorizedworks(accompanist may use music).
YoumayauditioninpersonoratonetheCollegeDays(callore-mailtheofficetoscheduletheaudition): •February12-14,2017 •AcademyChoralFestival,February22-24,2017 •CollegeDays:April9-11,2017(Thisisaftertheprioritydeadline).
Available Scholarships • Barbara (Coltrin) and Richard Lewis Music Scholarship Fund. Barbara Coltrin Lewis was involved in many musical ensemblesatPUCwhenshewasastudentintheearly1950’s.Availableinallareasofmusictobothmusicmajorsandnonmusicmajorswhodesiretoimprovetheirtalents.
• Patricia Loye Organ Scholarship. This endowed scholarship fund has been provided by Dr.MiloL.Loye and Patricia Block Loye. The purpose of the fund is to encourage young church organists. Proceeds from the scholarship fund are available to any student who study organ and desire to be a church organist.
• Albert Earl Mayes Music Ministry Scholarship.AftergraduatingfromPUCin1954withamusicmajor,AlbertE.Mayes served for many years as a voice/choral teacher in Southern California in academies and then at La Sierra College. He was one ofthecofoundersoftheAdventistChurchMusiciansGuild.Afterhisdeath,hiswifebestowedthisendowedscholarshipto PUC in his memory to encourage serious young musicians who want to use their musical talents for the ministry of the SDA Churchinamannersimilartohishighideals.Thisscholarshipisavailableprimarilytovocalororganmusicmajorsdedicatedto music ministry in the SDA church.
• Edward Charles (Teddy) Mackett Endowment for Students in Brass Music.TedMackettgraduatedfromPUCwithaB.S.inMusicin1992.HewasafinehornmajorandenjoyedperforminginthevariousinstrumentalensemblesincludingtheSymphonicWindEnsemble,theBrassEnsemble,andtheWoodwindQuintet.Becauseofhisloveforbrassmusic,hisfamilysetupthis endowed scholarship fund in his name after his sudden death in November 1995. Available to any brass student.
•Creative Arts Scholarships:Fiverenewableawards,availabletonew,incomingPUCstudents,ofupto$3000;participationinamusicdepartmentperformancegrouprequired.
Music Scholarships
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Paulin HallThe music building was named for Noah E. Paulin who taught music at PUC, and was the Music Departmentchairman from 1914-1944. Built in 1966, Paulin Hall containsafineauditorium,13teachingstudios,rehearsalfacilities for choral and instrumental ensembles, 18 prac-ticerooms,libraries,amainofficeandworkroom,andastudent lounge.
Paulin Hall Building HoursSunday•9am-11pm
Monday-Thursday•6:30-11pmFriday•6:30-SUNSET
(The building is not open for practicingFriday night or Saturday)
The person entrusted with the responsibility of closing the building has the authority to clear the building, so yourcooperationisexpectedandappreciated.
Auditorium / Recital HallThe auditorium provides an acoustic venue for presen-tations of concerts and recitals, and seats over 400. It may be used for practice for an upcoming recital by per-mission from the faculty or office manager. The grand piano on the stage is not for general practice and is locked when not in use.
LobbyWithitscrystalchandeliers,widelobbyandpatiolookingout to the fountain, the lobby of Paulin Hall was designed as a showcase for the campus. Please do not move furni-ture. Help keep the lobby a clean, wide-open space as it was intended.
Music Office (Room 103)Supervised by the office manager with the assistanceof students, theoffice isaplacewhereanunbelievableamount of work is done. It is a great source of informa-tiononjustabouteverything.
Office HoursMonday&Wednesday
10:00am-12:00noon•1:00pm-5:00pm
Tuesday&Thursday1:00 pm - 5:00 pm
Friday10:00 a.m. - 1:00 p.m.
Seminar Room (Room#104) isused for facultymeet-ings, committee meetings and small classes.
Choral Rehearsal Hall(Room#132)Used for choir practices and larger classes such as SurveyofMusic.Thepiano isnot forgeneral practiceand is locked when not in use. The use of this room by permission of the chair or office manager.
Instrumental Rehearsal Hall (Room#144)This is the rehearsal space for Orchestra, Symphonic Wind Ensemble, and various other ensembles, as wellas a meeting area for several music education courses. The piano is not for general practice. No food or drink allowed (a closed water bottle is alright) without permis-sion of ensemble directors. The use of this room by permission of Asher Raboy.
Handbells Room(Room#108)Beginning and Advanced Handbell Choirs. The use of this room is by permission of Rosalie Rasmussen.
Theory Room(Room#201)The main Theory classroom, but also used for other classes such as music history and literature courses. The use of this room is by permission of the chair or office manager.
Piano Classroom(Room#202)Contains 8 acoustic upright pianos, and some other elec-tronic keyboards. Some string groups and other classes may also meet in this room. The use of this room is by permission of the chair or office manager.
Computer Technology Lab(Room#204)Themusiccomputerlabisintendedformusicmajorstouse when composing, notating, synthesizing and edit-ing music, as well as completing theory and ear train-ing homework. Users of the computer lab must obtain department approval and sign the Computer Lab Usage Rules (see page 37) when obtaining a key. Absolutely no food or drink in the computer lab (a closed water bottle is alright). Failure to comply with these rules may forfeit yourprivilegeofusingthelab.Dropbox.comisutilizedasastoragelocationforyourfiles.
Nelson Memorial Music LibraryMost library materials for students are located in theNelsonMemorialLibrary. Booksonmusic,CD’s,vid-eos,scores,andLP’sareintheopenstacks.
Paulin Hall Music Libraries•PianoPedagogyLibrary:Room#110.Thislibrary contains piano teaching materials which are available formusicstudentsandareateacherstoperuse.Music can be checked out only for short-term use until a resale copy can be obtained. (Rosalie Rasmussen)
PAULIN HALL FACILITIES AND INSTRUMENTS
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•ChoralLibrary:Room#134 (Bruce Rasmussen)•WindEnsembleLibrary:Room#146(AsherRaboy)•OrchestraandChamberMusicLibrary:Room#115 (Rachelle Davis) Student LoungeRoom#120isaplacestudentscangettogethertostudyor hang out. Thank you for keeping the lounge an in-viting place by placing trash in proper receptacles and generallycleaningupafteryourself.Youareexpectedtouse the lounge in an appropriate manner representative ofChristianstandards—PDA,partying,etc.areNOTacceptable activities.
KitchenetteRoom#139isthesmallkitchenettewhichmaybeusedin preparing food for recital receptions or other events. You must obtain permission from the office manager to use the kitchenette. Please leave the kitchenette clean andorderlywhenyouarefinished.(Seepages40-41forKitchenette Usage Guidelines).
Practice RoomsThe practice rooms are provided for the use of music students pursing legitimate music practice. All but two practice rooms are to remain locked. Users of the locked practice rooms must obtain department permission and sign the Practice Room Usage Policy when obtaining a keyfromtheMusicOffice.Absolutelynofoodordrink(a closed water bottle is alright) in the practice room. Failure to comply with the policy may forfeit your privi-lege of using the locked practice rooms. (There is a copy of the policy on page 36 of this handbook).
Food and DrinkAbsolutely no food or drink of any kind is allowed in practice rooms, auditorium, computer lab or near instru-ments (a closed water bottle is alright). Any person who violates this rule may forfeit the privilege of using the facilitiesoftheDepartmentofMusic.
Rehearsal Hall LockersThese lockers located on the west side of the building are provided for storing instruments primarily used by Orchestra and Symphonic Wind Ensemble personnel.Therearedifferentsizestoaccommodatevariousinstru-ments.
Cello ClosetThisclosetislocatedinthehallnexttotheBandlockersand is appropriate for storing cellos and double basses.
Practice Room LockersTheselockers,locatedonthefirstandsecondfloorsonthe east side of the building are provided for storing mu-sic and instruments for students using the practice rooms.
•ObtainakeyfromtheMusicOffice.
•Attheendoftheyear,cleanoutyourlockerandreturnthekeytotheMusicOffice.
•Ifyouarestayingoverthesummeryoumustnotifytheofficemanager for permission to leave your instrumentand retain your key.
•Failuretoreturnkey(s)whenyouleavecampusordur-ingexamweekinJune,willresultina$50keycharge,ap-pliedtoyourschoolbillabouttwoweeksafterthequarterendsinJune.KeysmustbereturneddirectlytotheMusicOfficebythedeadlinetoavoidakeycharge. Placethekeys in the specifiedboxon thecounteror in theKEYDROPinthedoortoroom#101.Therearenorefundsformissing keys that are returned in another manner.
•Ifyouhaveobtainedpermissiontoleaveyourpersonalinstrument in one of the lockers or the cello room, you must fill out an Instrument/Equipment Storage Agree-ment releasingPUCof liabilityagainstfire,flood, theftanddamagesustainedtoinstrument,equipmentoracces-sories stored in Paulin Hall.The Music Department is not responsible for items stolen out of lockers.
Bulletin BoardsBulletin boards are located throughout the building to dis-play informationspecifically formusicstudentssuchasconcert information, Bay Area musical events, competi-tionsandvariousothermusic-relatedfliersandposters.
Instruments •About25grandpianos •About25uprightpianos •2electronicpianos •2practicepipeorgans •CasavantorganintheAuditorium(48ranks) •4harpsichords •Afive-octavesetofhandbells. •RiegerConcertpipeorgan(85ranks) in the Church Sanctuary for organ students. •Severalorchestraandbandinstrumentsareavail-able for use by members of these ensembles and/or students taking private lessons who might not have their owninstruments.ContacttheSymphonicWindEnsem-bledirectorforavailabilityandgototheMusicOfficetofilloutanInstrument Usage Agreement. The instruments may not be removed from Paulin Hall without faculty approval.
Please note:Because the building is not sound-proofed, no electronic instruments or drum kits may be used in Paulin Hall withoutMusicDepartmentapproval.
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PAULIN CENTER FOR THE CREATIVE ARTS (PCCA)
This innovative music instruction program is designed especially for the developing musician through private lessons and group classes for students of all ages. Estab-lished in 1984, PCCA has enriched thousands of young people and adults alike in their musical endeavors. A qualifiedstaffofinstructorscontinuesthetraditionofin-
spiringthecommunitythroughtheirknowledgeandex-pertiseinthearts.PCCAalsoprovidesexcellentopportu-nities for advanced music students to hone their teaching skills. Contact Rosalie Rasmussen, the director of PCCA if you are interested in teaching. You must complete Theory I and Pedagogy before teaching.
TheMUSICClubisPUC’spremiermusicclubwithmembershipopentoanystudentorfacultymemberwhowishestojoin.TheMUSICClubencouragesartistic,educational,social,andspiritualinvolvementinawiderangeofmusic-relat-ed activities, including, but not limited to Friday evening supper-worships in faculty homes, Sunday breakfasts, sharing music in nursing homes, beach trips, reduced tickets for off-campus events such as San Francisco Symphony concerts, and participation in club fund raisers such as Fall Festival, etc. Be sure to join this club and help keep it active.
MUSIC Club Officers for 2015 - 2016
(Club not operational)
MUSIC Club Officers for 2016 - 2017President ExecutiveVP Social VP Religious VP Treasurer * Publicity Secretary * Secretary * Historian Freshman Representative Freshman Representative Faculty Sponsor Rachelle Berthelsen DavisFacultySponsor LynnWheeler* Positions may be filled by non-majors.
HONORS AND SOCIAL GROUPS
Certificate of AchievementThisawardisgiventomusicmajorswhopresentarecital(orhaveanimportantsoloroleinamajorworkorensemble)ofespeciallyhighqualityforeachofthefouryearsenrolledatPUC.Duringyourfinalquarter,theperformanceteachercanrecommendyouforthisawardtothemusicfacultywhowillthenconsidertherequest.
Pi Kappa LambdaTheSocietyofPiKappaLambdaistheonlycollegehonorsocietyinmusic,andissorecognizedbyitsmembershipintheAssociation of College Honor Societies. Since its establishment more than seventy years ago, Pi Kappa Lambda has consis-tently adhered to the principles of its founders in honoring scholarship, musicianship, and personal character.
PacificUnionCollegejoinedPiKappaLambdaonMay9,1995,whenDr.RobertBlocker,currentlyDeanoftheSchoolofMusicatYaleUniversity,cametoourcampusforthecharterceremonyofourTheta Zeta Chapter.
Fewer than two hundred colleges and universities nationwide have ever been approved for membership inPiKappaLambda,andPacificUnionCollegewasonlytheninthtojoininthestateofCalifornia.
Astudentmembershipinthesocietyrequiresthatthestudentbeoutstandinginscholarlyachievementandmusicianship,pro-videdthatthestudentwillhavebeeninresidencetheequivalentofatleastsixquarterspriortograduation,andranksnotlowerthan the highest twenty percent of the senior music class as determined by GPA. The music faculty would like to challenge you to your highest possible achievements. If you reach the standard set by Pi Kappa Lambda Society, we will honor you with a lifetime membership. Hopefully your name will be listed below in the near future!
Theta Zeta Charter Members
Charter Members1.DelW.Case* James A. Kempster*W.JamesMcGee2. Kenneth A. Narducci3. LeRoy H. Peterson*C.LynnWheelerElected Members4. Lois A. Case5.MelvaWrightCummings6. Aileen James7. Ivylyn Traver8.AudreyB.Wargo9.GeorgeW.Wargo10. Glenda Lee Abilgaard11. Rachelle Berthelsen Davis12.TerryLynnBuchmiller,M.D.13.KarenKortzebornCarle14. Faith Yeung Choi15.WinstonRobertDennisIII16.JenniferMuirGoss17. Norman L. Goss18.WayneRichardHarrison
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19. Duane Elwin Hilliard20. Carol L. Kutsch21.JuliaMellerNarducci22. Taylor David Ruhl23. Robert Phil Thornton24. Emily S. Perdy25. Annemarie E. Fanselau26. Roy E. Gane27. Carol Lynn St. Clair28.EvelynEdwinaWallace29. † Herbert Thorson Blomstedt30. Gennevieve Brown Kibble31.MelodyLynnRagsdale32. Roger Sohn33. Gayle Luanne Chinnock34. David Ralph Castro35. Jamie Helen Joe36. Dennis Lee Ballard37.BreezyLynBrehm38. Jennifer Kate Janssen39.JonathanWilmerHechanova40.WelbyJosephLo41.BrenMatthewChun
42. Lisa Aimee Hechanova43. Jennifer Leigh Cress44. Glenda Rosalie Rasmussen45.JudyM.Tinker46. Hee Young Park47. Karlton Keller48. Darrin Christopher Thurber49. John Robert F. Osio50. Asher Raboy51.MatthewReeves52. Hanbit Ha53. Heidi Rasmussen54. Timothy Rasmussen 55. Namiko Nagayama56. Lindsey Henning57.RachelVeszpeller58. Bethany Jasmine Costa59. Zachary Stephen Seifert-Ponce60. YOU !!!* Members inducted at other universities† Honorary Member
Dr. Jenelle Westerbeck AndersonPh.D, University of SouthernCalifornia,ThorntonSchoolofMusicConducts Chorale and I Cantori. (since 2016)Room#135,[email protected]
Dr. Jenelle WesterbeckAnderson is amusician, performer, and conductor
with a rich background in violin, voice, choral music, chamber music and early music. She has held positions as concertmis-tress of several chamber and orchestral groups including the New England Youth Ensemble. She is also a founder and mem-berofConvivia;aprofessionalwomen’squartet.Dr.Andersonhas directed choirs and taught strings, voice and violin at the high school level. She also directed choirs and taught under-graduate and graduate choral conducting classes at the Univer-sity of Southern California, and directed chamber ensembles atWhittierCollege.Shehasbeenanadjudicatorandclinicianat choral and string festivals around the country. She has also been the director of music at several large churches includ-ingSligoSDAchurchinTakomaPark,MD.HerchoirshaveperformedatCarnegieHall,theNationalCathedral,theWhiteHouse, and with Barbra Streisand at the 53rd Annual Primetime Emmy Awards. Dr. Anderson received her doctorate in Choral Music from theUniversity of SouthernCalifornia,ThorntonSchool ofMusic. She received herMasters inChoralMusicfrom the University of Illinois at UrbanaChampaign and her undergraduatedegreeinMusicEducationfromAtlanticUnionCollege.Dr.Andersonhas studiedconductingunderWilliamDehning, James Vail, Lynn Bielefelt, Ann Howard Jones, Don Moses,andFredStolzfus.
Dr. Richard AldagPh.D, City University of New York Graduate CenterTeachesSurveyofMusic.(since 2013)Room#207,[email protected]
Richard Aldag has had a varied career as composer, educator and arts administra-
tor.HeholdsaPh.D.inMusicfromtheCityUniversityofNewYork Graduate Center, where he studied with leading compos-ers, theorists, and musicologists. He has received commissions fromtheShanghaiSymphonyOrchestra,theQueensSympho-ny’s“SoundsfromtheLeftBank,”TrioVersailles,Earplay,andthe San Francisco Chamber Orchestra. Aldag has served on the facultiesoftheSanJoséStateUniversitySchoolofMusicandDance, the Fordham University, and the Brooklyn Conservato-ryofMusic.Inadditiontohisworkascomposerandeducator,AldaghasheldadministrativepositionsthatincludeExecutiveDirectoroftheNapaValleySymphony;LincolnTheaterNapaValley;andSanFranciscoChamberOrchestra.
FACULTY AND STAFFMatthew BoylesM.Mus.,TempleUniversity,BoyerCollegeofMusicTeaches clarinet.(since 2013)Room#205,[email protected]
Matthew Boyles maintains an activeprofessional life in the San Francisco
Bay Area performing with a number of orchestras and chamber music groups and also educating in the North Bay. He is the clarinetist in the Vinifera Trio that performs a wide array of pro-gramsalongthewestcoast.Mattenjoysteachingalllevelsofmusic from kindergarten to college at several private and pub-licschoolsandatPacificUnionCollege.Beforemovingtothewest coast, he was an active professional clarinetist in the Phila-delphiaarea.UponcompletinghisMaster’sDegreein2011atTemple University, he continued to perform with groups across the Northeast, including the New Haven Symphony Orchestra inConnecticut,performingMahler’s8thSymphonyatCarnegieHall in New York City, and as a substitute musician with the PhiladelphiaOrchestra.WhileworkingonhisBachelor’sDe-gree at the University of Cincinnati in Ohio, he performed with various ensembles in the area including the Louisville Sympho-ny Orchestra and the Cincinnati Chamber Orchestra.
Joel CohenB.Mus.,UniversityofWesternOntario-London,Ontario, CanadaTeaches cello(since 2014)Room#205,[email protected]
Joel Cohen received his bachelor of music with honours in Performance, pedagogy and chambermusicfromtheUniversityofWesternOntario-Lon-don, Ontario, Canada. He has studied with Irene Sharp and MargaretRowell aswell abroad inCanadaandHolland. Hehas played with the Oakland Symphony, the Vienna Chamber OrchestraunderPhilippeEntremont,theWienerKammeroper,theWienerAkademie(onperiodinstruments)andQuartettYg-gdasil, as well as the Vienna Radio Symphony. He was also a member of the Johann Strauss Festival Orchestra, perform-ing in Austria and around the world, including Germany, Japan, ArgentinaandBrazil.HehasplayedandtaughtintheBostonarea, performing with various orchestras and chamber music groups, including the Boston Symphony Orchestra, the Nation-al Lyric Opera, the Rhode Island Philharmonic, the Landmarks Orchestra,andtheLeonoraQuartet.Heisafoundingmemberof theawardnominatedQuartetSanFrancisco, andperformsextensivelyintheMendocinoCounty. HehasplayedrecitalsinMexicowithPUCAlumnus,ElenaCasanova,andperformedthe Brahms Double, Elgar and Tchaikovsky concertos with sev-eral localorchestras. HewillperformTchaikovsky’sRococo Variations again with the Echo Chamber Orchestra in San An-selmo, CA in October 2015. Joel is currently on the faculties of Humbold State University and here at PUC where he teaches cello.
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Dr. Rachelle Berthelsen Davis D.M.A.,UniversityofTexasatAustin.Directs orchestra and teaches violin, music history, and violin pedagogy. (since 2003)TeachingStudioRoom#205,ext.6214Office#102,[email protected]
Dr. Davis holds degrees from the Uni-versity of Texas at Austin (D.M.A.), Indiana University,Bloomington (M.M.), and PacificUnionCollege (B.S.). Sheis theMusicDepartmentChair and teachesviolin, chambermusic, music history, and violin pedagogy, and is the director of thePacificUnionCollegeOrchestra.PriortomovingtoCali-fornia, Davis was the concertmaster and assistant director for the New England Symphonic Ensemble, the resident orches-traforMid-AmericaProductionsatCarnegieHall,NewYorkCity.Inthisposition,shefrequentlyperformedunderthebatonof the renowned composer/conductor John Rutter. As soloist, concertmaster and chamber musician, Davis has toured Europe, theMiddleEast,SouthAfrica,China,andSoutheastAsia—aswellastheUnitedStates,Canada,Mexico,andtheCaribbean.She has held positions on the faculties of Indiana University StringAcademy, theUniversity ofTexas String Project, andas an assistant professor at Columbia Union College (now WashingtonAdventistUniversity)inTakomaPark,Maryland.WhileDavis isprimarily a classicalviolinist andviolist, shealsoenjoysimprovisingandexploringalternatestylesofmusicsuchasjazzandTexasstyleswing.Sheandherhusband,KentDavis (PUC Chemistry Department professor), have two sons.
Joel DickersonM.E.,U.C.Berkeley;B.Mus.Performance,WallaWallaUniversityCollaborative Piano(since 2016)[email protected]
“BornandraisedinEasternWashington,whereheperformedMozartandShostakovitchConcertoswiththeWallaWallaSymphony,EasternOregonSymphony,Mid-Columbia Symphony, and Spokane Youth Symphony, Joel re-cently became a Napa Valley resident. After graduating with amusicdegreefromWallaWallaUniversitywherehestudiedunder Debra Richter, Joel spent a year in New York performing andinstructingwithvariousdanceschools,ensembles,&the-atres, including CAP 21 at New York University, before mov-ing to California to attend engineering graduate school at UC Berkeley.Mostdays,youcanfindhimdesigninghighwaysatacivilengineeringfirminOakland,orenjoyingbikingontheSilverado Trail and kayaking on the Napa River.
Linda Dunbar OfficeManager(since 2007)Room#103,[email protected]
Linda studied graphics arts, photogra-phyandofficeadministrationatPacificUnion College, and has worked in vari-ous capacities on the PUC campus since
1985.Sheenjoysplayingthepiano,photography,scrapbook-ing and history. She has one adult son.
Pete EstabrookM.F.A.,CaliforniaInstituteoftheArts.Teaches trumpet. (since 2009)Room#136,ext.6651
Mr. Estabrook received a Bachelor of Music Degree in Professional MusicfromBerkleeCollege, and aMasterof
Fine artsDegree in JazzStudies fromCalifornia Institute fortheArts.HeisastudentofinternationallyrecognizedYamahaTrumpet Artist and Clinician: Bobby Shew. Pete has also stud-iedtrumpetprivatelywithRaymondMase,JohnHenes,MarkInouye,JeffBiancalana,LouisHanzlik,MikeVax,GregHop-kins,TonyLujan,PaulFontaine, JohnCappola,WarrenGale,JeffStout,ScottFessler,RickWinslow,JohnPearson,andSteveBraet. He teaches or has taught at Sonoma State University, San-ta Rosa Junior College, Napa Valley College, and has been ac-tiveasaJazzBrass,andTrumpetClinicianandprivateteacherfor26years.Hehasauthored15jazztrumpetsolotranscriptionbooks and transcribed over 400 jazz tunes and arrangements.For the past 23 years, Pete has also been the Racetrack Bugler on the Northern California Fair Circuit, and has worked as a musician for several cruise ship lines.
Sadie GlassM.Mus.,UniversityofIllinoisatUrbana-ChampaignTeaches horn.(since 2013)Room#144,[email protected]
Hornist, Sadie Glass, is committed to creatinguniquemusicalexperiencesas
a performer and educator. She is an active freelance musician in the San Francisco Bay Area and is a Teaching Artist within her community. As a versatile and accomplished musician, Glass is pursuing a career in early music, performing on both the ba-roqueandnaturalhorns,andwasafeaturedsoloistandchambermusician. Glass is a member of the Symphony Napa Valley, and is a substitute with several ensembles, including the Santa Rosa Symphony,MontereySymphony,andtheBerkeleySymphony.In the past, she has played in the Champaign-Urbana Symphony OrchestraandtheCentralWisconsinSymphonyOrchestraandas a period instrument specialist, Glass has been a substitute withtheperiodensemble,Mercury.Currently,Glassisonfac-ultyatthePacificUnionCollegeasanadjuncthornprofessorandprovidesappliedlessonstohornandtrumpetmajors,coach-es the PUC horn quartet, and teaches the brass performanceclass.Withinthecommunity,Glassisinvolvedinoutreachworkteaching at Salvador Elementary, Napa Valley Language Acad-emy, Napa Valley Youth Symphony, Napa County Preschools, Napa Valley Performing Arts Center, and as a private instructor. GlasscompletedaMasterofMusicdegreeattheUniversityofIllinois at Urbana-Champaign and graduated summa cum laude withaBachelor’sdegreeinmusicperformancefromUniversityofWisconsinStevensPoint.
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Auriel HelmerB.Mus.Ed.,PacificUnionCollege.Teaches piano and harp through PCCA. (since 2011)Room#211,[email protected]
AurielHelmerreceivedherB.Mus. inEducationfromPacificUnionCollege.She has studied piano with Ruth An-
drieux,andRosalieRasmussen;andharpwithMelissaUrqu-hart and Frances Fanelli. It is her desire to share her musical knowledgewithstudentsofallages. Ms.Helmeris theEle-mentary music teacher at Napa Christian Campus of Education.
Jennifer HuntM.Mus., Hartt School, University ofHartfordTeachesflutethroughPCCA.(Since 2013)Room#136,[email protected]
Flutist Jennifer Hunt pursues a versatile musical life as a passionate performer
and educator. She is adjunct flute professor at PacificUnionCollege and a teaching artist at Salvador Elementary School, and has taught at Napa Valley Language Academy. She has playedfluteandpiccolowiththeRussianNationalOrchestra,HartfordOperaTheater,MontanaLyricOpera,andSympho-nyNapaValleyandhasbeenfeaturedonNPR.Ms.Hunthasworked to incorporate performing arts into education at schools in Peru and on the Flathead IndianReservation inMontana.ShereceivedherBMfromtheUniversityofMontana-Missoulaand herMM fromTheHartt School.While she is primarilyclassically trained, Jennifer alsohas experienceplaying jazz,bluegrass,Irish,PeruvianandAmericanfolkmusic.Sheenjoysgardening, cooking, traveling, and spending time outdoors. She offersprivatelessonsforbothfluteandbeginning-intermediatepiano for students of all ages.
Linda MarksB.Mus.,PacificUnionCollege.Teaches viola and violin.(since 2011)Room#107,[email protected]
Linda Marks has been teaching in theNapa Valley for over a decade and has a wideexperienceasateacher,performer
and ensemble director. Linda has been a member of the San Francisco Symphony Youth Orchestra, Ukiah Symphony Or-chestra and the Philharmonia Healdsburg and has studied at the ClevelandInstituteofMusicandtheAspenMusicFestivalandSchool.ShegraduatedwithaBachelorsofMusicfromPacificUnionCollegeandcurrentlyteachesatPacificUnionCollege,Rio Lindo Adventist Academy and Paulin Center for the Cre-ative Arts.
Jon MendleM.Mus.,SanFranciscoConservatoryofMusicTeaches guitar. (since 2012)Room#136,[email protected]
Since making his Carnegie Hall debut at age 19, Jon is rapidly building a career as
a performer, teacher, arranger, and composer. He has gone on tourwithYo-YoMaandtheSilkRoadEnsemble,andreleasedhis first album, “L’Infidele” to critical acclaim. Jon studiedwithLawrenceFerrara,MarcTeicholz,DavidTanenbaum,andDusan Bogdanovic. He has participated in master classes, and wontheSanFranciscoConservatoryofMusic’sbiennialGuitarConcerto Competition, playing Heitor Villa-Lobos’Concerto for Guitar and Small Orchestra. He has performed this work with The Oakland East Bay Symphony, The Bay Area Rain-bowSymphony,andTheSanFranciscoConservatoryofMu-sicOrchestra. Jon’s solo repertoire includesworks frompe-riods ranging from the Renaissance to the contemporary era, withanemphasisonlesser-knownbaroqueluteworks.Hehasarranged works by composers such as Kapsberger, Zamboni, and Falckenhagen, who are virtually unknown outside the lute world,aswellasmorefamiliarworksbyBach,Weiss,Ravek,Debussy, and Hovhaness. He has also studied the classical mu-sic of North India with Ustad Ali Akbar Khan at the Ali Akbar CollegeofMusicinSanRafael,California,andprivatelywithsarod player Steve Oda.
John MilhollandTeaches trombone, Euphonium, brass.(since 1997)Room#144,[email protected]
AsPUC’sbrassspecialist,JohnleadstheTromboneChoirandBrassQuintet,and teaches private lessons in various brass
instruments.HehasguestconductedtheSymphonicWindEn-semble and other groups. He is employed at PUC Facilities Management.
Rachel PatrickM.Mus., Indiana University, JacobsSchoolofMusicTeaches violin and chamber music.(since 2013)Room#205,[email protected]
Violinist Rachel Patrick leads a ver-satile musical life as both a performer
and teaching artist/educator. She has taken part in successful concert tours of Europe, Asia and North America, including a benefitconcert for theHarlemSchoolforStrings inCarnegieWeillRecitalHall.Ms.Patrickhasperformedas soloistwithorchestras across the United States and Europe, most recently with the Schleswig-Holstein Festival Orchestra for the German premierofTanDun’s“Hero”Concerto.Fallof2014willbringperformancesofKevinPuts’Violin Concerto with a number of orchestras across the U.S. She has presented solo and chamber music recitals on four continents, recently completing a tour of
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Asia with one of her trios, Nu Expressions. She has recorded chamber music and solo CDs for the Enharmonic, Crystal and Albany labels and is a series artist for the Classicopia, Amici MusicandMusicintheVineyardschambermusicseries.Ms.Patrickisalsoadedicatedorchestralmusician.Mostrecently,she held the post of concertmaster with the Schleswig-Holstein Festival Orchestra from 2009-2013 and served as guest concert-master with many other ensembles. A dedicated teacher, she is currently a teaching artist with two El Sistema programs in the Napa and Sonoma Valleys and maintains an active private stu-dio.ShecompletedaBachelorofMusicdegreeattheUniver-sityofMichigan andcompleted aMasterofMusicdegree atthe IndianaUniversityJacobsSchoolofMusic, servingasanAssociate Instructor in violin.
LeRoy PetersonM.Mus.,PeabodyConservatoryofMusic.Emeritus.TeachesstringsandWorldMusic.(since 1983)Room#203,[email protected]
Mr. Peterson was born in Canada, butgrew up in Singapore as the son of mis-
sionary parents and here began his studies in violin. After his debutat14,hewenttotheGenevaConservatoryinSwitzerlandto study. At 16, he performed with the National Symphony in Washington,D.C.HereceivedhisM.Mus.andArtistDiplomaat the Peabody Conservatory of Johns Hopkins University. He taught for three years at Pioneer Valley Academy and taught 15 years at Andrews University before coming to PUC in 1983. Pe-terson has visited 35 countries and performed in most of them, including nine trips to Russia, working in evangelism and per-forming. Aside from playing in Carnegie Hall and Town Hall in New York City, he has appeared on television and radio as solo-istwithorchestrasinWashington,D.C.,Baltimore,Singapore,Michigan,N.Y.City,California,Ohio,RussiaandtheUkraine.ChapelRecordsrecordedhimonsixdifferentalbums,andhehasbeenfeaturedintheinternationalStradMagazine.Petersonhas been a contest winner in badminton and bodybuilding and has received several awards in violin performance and painting. He and his wife Carol have two children, Shelley and Todd, and threegrandchildren.LeRoycontinuestoperform,teachWorldMusicandCultureatPUCandgiveviolinlessons.
Asher RaboyM.F.A.,Carnegie-MellonUniversity.ConductorofthePUCSymphonicWindEnsemble. TeachesMusicTechnology,Composition, Counterpoint. (since 2008)Room#145,[email protected].
Mr. Raboy has a M.F.A. degree fromCarnegie-MellonUniversity and aBachelor ofArts inMusicfrom the State University of New York at Binghamton. He writes orchestral compositions and has studied with Leonardo BaladaandEzraLaderman,andstudiedconductingwithRobertPage,IstvanJaray,andPeytonHibbitt. HewasMusicDirec-
tor of the Napa Valley Symphony from 1990-2010, and assisted with conducting for the Diablo Ballet, Santa Rosa Symphony, Hudson Valley Philharmonic, Binghamton Symphony, and Tri-Cities Opera Company and more. He has lectured for the New York Philharmonic and worked as staff writer for the Putman fundsofBoston.Mr.RaboydirectsthePUCSymphonicWindEnsemble and teaches various classes in theory, composition and history. He enjoys racquetball, cooking, and chess, andlives in Napa with his wife, Katy Raboy.
Heidi RasmussenB.Mus.,PacificUnionCollege.Teaches violin, piano and Theory lab. (since 2006) Room#107,[email protected]
Ms. Rasmussen holds a bachelor’s de-gree in music education from PacificUnionCollege,specializinginthevocal/
choralareas.Sheisasuperbvocalist,violinistandafineorgan-ist,andenjoysseeingstudentsmakeprogress intheirmusicalabilitiesanddevelopagreater enjoymentofmusic. Shecur-rently teaches band and strings at Foothills Adventist School and teaches violin, piano and voice for PUC and PCCA.
Rosalie Rasmussen M.Mus.,AndrewsUniversity.Director of Paulin Center for theCreative Arts (PCCA). Teaches piano, handbells, musiceducation and piano pedagogy. (since 2005)Room#105,[email protected]
Mrs.Rasmussen receivedherB.Mus. andM.Mus. degrees inkeyboard education from Andrews University. Additional mu-siceducationclassworkwasdoneatWallaWallaCollege.Pri-mary piano professors were Elaine Taylor, Sandra Camp and LeonardRichter;organprofessorsWarrenBeckerandWilliamNess. Her music teaching encompasses a wide range of various ensembles, classroom music, music methods and general music classesatWallaWallaCollege,SouthernAdventistUniversity,WisconsinAcademy, Great LakesAcademy,Milton StatelineElementary School, Greater Lansing Adventist School, and A.W.SpaldingElementarySchool.Shehasalsoenjoyedchurchmusic involvement as organist-choral director in a number of denominations. She is currently director of Paulin Center for the Creative Arts (PCCA), teaches music education, piano, pi-ano pedagogy, and conducts the handbell choirs at PUC. She and her husband Bruce have three children: Kristii, Heidi, and Timothy.
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DeBrina WilliamsTeaches Gospel Choir.(since 2013)[email protected]
Emeritus Professors:DelW.Case,D.M.A.,Emeritus,organ,voice.JamesMcGee,Ph.D.,Emeritus,piano.JamesMercer,Ph.D.,Emeritus,voice.
Dr. Lynn Wheeler D.M.A.,UniversityofOregon.Teaches piano, keyboard literature,and music theory. (since 1971)Room#106,[email protected]
Dr.WheelerreceivedhisD.M.A.fromtheUniversityofOregon, theM.Mus.
fromTheCatholicUniversityofAmerica,andtheB.Mus.fromWallaWallaCollege. HestudiedwithBruceAshton,BlytheOwen, Francis Bittner, Stewart Gordon, and Leon Fleischer. Hehas concertizedextensively throughout theUnitedStatesand in several foreign countries. He has been listed in Who’s Who Among Students in American Colleges and Universities, the International Who’s Who in Music and Musicians Direc-tory, American Keyboard Artists, and Who’s Who in Entertain-ment. HeisapastpresidentoftheNapaBranchoftheMusicTeachers’AssociationofCalifornia(MTAC)andofDistrict7of theCaliforniaAssociationofProfessionalMusicTeachers(CAPMT). He is also current chair of the local branch au-dition center for thePianoGuild; and in2001was inductedinto the Hall of Fame, Piano Guild, USA. He is an accredita-tionvisitorfortheNationalAssociationofSchoolsofMusic.He has taught at Columbia Union College, Portland Adventist Academy, and Campion Academy. He has been at PUC since 1971 and teaches piano, music history, and theory classes. Dr. WheelerandhiswifeCharlainehaveonedaughter,Charlynn,and a granddaughter.
Dr. Eve-Anne WilkesD.M.A.,WestVirginiaUniversityTeaches voice(since 2015)Room#205,[email protected]
Dr.Wilkes holds a Doctor ofMusicalArts Degree in Vocal Pedagogy and Literature fromWest Virginia Univer-
sity,withherMasterofArts(emphasisinvocalpedagogy)andherBachelorofScienceDegreeinMusicEducationfromTheOhioStateUniversity.ShewasaprofessorofvoiceatWestVirginia University,Memphis State University, (Tennessee),and Otterbein College, (Ohio). She is a long-time member of the National Association of Teachers of Singing, along with the AmericanChoralDirector’sAssociationandChorusAmerica.Shehastouredabroad,andhashadanextensiveanddiverseperforming career including a wide variety of musical genre: opera, oratorio, musical theatre, solo recital, and cabaret. Dr. Eve-AnneWilkes teaches voice classes, directs the CollegeChorale and is theMusical Director for themusical theaterproductions at Napa Valley College. She also administers the NapaValleyCollege’snewAppliedMusicprogram.Shehasled numerous international performance tours for the NVC SingersincludingtourstoGermany,Austria,theCzechRepub-lic,Spain,Scotland,England,Canada,andJapan,andhasjustcompleted their most recent tour to Italy (June 2014).
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A BRIEF HISTORY
ThePUCMusicDepartmentwasfoundedintheearly1900’sbyProfessorNoahPaulin,whoseportraityouseeinthemainlobby.Otherlikenessesofthedepartment’sfirstchairmaypopuphereandtherearoundPaulinHallaswell.Thefirstgraduationprogramtolistgraduatesinmusicappearedin1913whenEthelOs-bune Colvin and Hilda Paap Davison were awarded diplomas in Pianoforte. Until 1930 most music students earnedcertificatesinspecificinstruments(pianoforte,vocal,pipeorgan,orviolin)alonewiththeirNormalDegrees.TheBachelorofArtsinmusicwasawardedtoCeciliaVothin1930,andthefirstMasterofArtsinmusic was earned by John David Holder in 1965.
PUCbecameamemberoftheNationalAssociationofSchoolofMusicin1970,andjoinedPiKappaLambdain 1995. This past June, the 456th degree in music was awarded.
Music Department Chairs Noah Paulin 1914-1944HalMiller 1944-1945MiloHill 1945-1946Sterling Gernet 1946-1952John Hafner 1952-1955GilmourMcDonald 1955-1957WarrenBecker 1957-1958Vernon Nye 1958-1959GeorgeWargo 1959-1969MelvinHill 1969-1973James Kempster 1973-1978CarlyleManous 1978-1980JamesMcGee 1980-1986LynnWheeler 1986-2010Rachelle Berthelsen Davis 2010-2015EdwinMoore(Acting) 2015-2016Rachelle Berthelsen Davis 2016-Present
Paulin Hall - way back when.Now the English Department & Alice Holst Theater
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Pacific Union College Department of Music
Practice Room Usage PolicyThe practice rooms are provided for the use of music students pursuing legitimate music endeavors. It is a privilege to use a practice room and users are expected to use the rooms for their intended purpose.
All Music Majors and select other music students may check out a key for the quarter or school year. Please follow these guidelines to help keep our practice rooms secure.
•2rooms#127Þ-remainunlockedfortheuseoflegitimatemusicpracticewheneverthebuildingisopen.
•8roomsreservedformusicmajors-locked at all times:#114 (reserved for piano majors),213,214,226,227, 228,229&230.ObtainakeyfromtheMusicOffice. •6roomsforgeneraluse- key holder must lock doorwhen not in use:215,218,219,223,224,225.Theseroomsremainunlockedafteryouopenthem,unlessyouintentionallylockthem.Getintothehabitoflockingthedoorimmediatelyafteryouopenthedoor.Pleasebediligentaboutthisinordertomaintainsecurity.ObtainakeyfromtheMusicOffice.
•1roomreservedforPCCAstudentsorthosestudyingharp,doublebassorcello:#116byspecialpermission.
•Thereare2lockedpracticeroomswithelectronic pianos for the use of students who need to work one hand at a time with recording.ObtainakeyfromtheMusicOffice.
•Contacttheorganteacherforauthorizationandschedulingoftheorganpracticerooms.KeysfortheorganpracticeroomsandSanctuaryorgancanbeobtainedfromtheMusicOffice.SchedulingfortheSanctuaryorganistobearrangedthroughthePUCChurchofficeandtheorganteacher.
• When you are done using a room, turn out the light and pull the door closed firmly to make sure it is latched.
• All practice rooms are reserved for music practicing only. You are expected to behave in an appropriate manner represen- tative of Christian standards. The rooms are not for studying, having parties with friends, activities with the lights out, etc.
• No food or drink in practice rooms (a closed water bottle is OK, but it must not be placed on the piano).
• Anyone needing to practice who does not have a key must check in at the office and they will be let into a room.
• A Monitor will patrol the rooms randomly.
Failure to use the rooms for their intended purpose will result in your key privilege being revoked.
I accept the responsibility of keeping the practice rooms secure and using them appropriately. (Enter your name, ID# and email on the Usage Policy Acceptance Sheet).
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Pacific Union College Music Department Computer Lab Usage Policy
The use of the PUC Music Department Computer Lab is a privilege. Please observe these rules to help keep the lab running efficiently for all users. Failure to comply with this policy may forfeit your privilege of using the lab. • Users must obtain Music Department approval, and will be given a key to the lab. No students without keys to the lab should be in the lab, and no students without keys should be using the computers or other equipment in the lab unless assisting authorized users with musical projects. • The Computer Lab is for authorized students working on ligament music projects. It is not for movie watching, surfing the web, using social media, partying, dining, sleeping, or any other non-music activity. • No Food and drink allowed in the lab. The lab is a work area, not a dining area. • Cubase keys are to be locked in lockbox when not in use. Do not leave them in the computers, or take them out of the computer lab. • No equipment may be taken from the lab, including but not limited to, license keys for Cubase, microphones, keyboards or computers. • Computers and all electronics are to be turned off when you are through. Even if you think you are coming back after an hour, please turn off equipment. • Turn off air-conditioner when exiting. • Reservation of the computer lab for recording purposes must be made 24 hours in advance, through the Music Office. No unauthorized posting of signs that keep others out of the lab. If the Music Office is closed, you may send an e-mail to [email protected], at least 24 hours in advance listing the date and time you would like to reserve the lab, and the Office Manager will approve your request and post a sign. • Please clean up after yourself - put equipment back in its spot, organize keyboards, mics, etc, put trash in its place, turn off computers and equipment. LEAVE IT BETTER THAN YOU FIND IT. Should you have technical issues with the computers or software, or any other concern, contact either Asher Raboy, or the Office Manager.
Enjoy making beautiful music!
I accept the responsibility of following this usage policy, keeping the computer lab secure, and using it appropriately. (Enter your name, ID# and email on the Usage Policy Acceptance Sheet)
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Auditorium & Lobby Usage Guidelines•TheMusicDepartmentispleasedtoprovidetheauditoriumforeventshostedbycollegedepartments,church,schools,localcommunityandothernon-collegeentities.Useoftheauditoriumincludesuseofexist-ingartificialplants,theSoundBoothandlobby.
•TheAuditoriummaybereservedbycontactingtheMusicOffice,andwillbepresentedtotheMusicFac-ultyinFacultyMeetingforapproval.
•Allfees,whereapplicable,willbepaidbytheuserbeforetheevent.PUCDepartments,Clubs,Church,PrepandElementarymustsupplyaGL#atthetimeofbookingwiththeunderstandingthatacleaningfeemaybechargeditthefacilityisnotleftcleanandorganized.
•AkeyfortheAuditoriummaybeobtainedfromtheMusicOffice.ThepersonwhochecksoutthekeyisresponsiblefortheuseoftheAuditoriumandinsuringthatitisleftcleanandorganized.
•Returnkey(s)totheMusicOfficenolaterthan24hoursafterevent(thereisadropboxlocatedinthedoorofroom#102).Failuretoreturnthekeywillresultina$50keycharge.
•Permissiontouseallinstrumentsandequipment,includingchoralrisersandshellmustbeobtainedfromtheMusicDepartment.NoitemsshallbemovedfromotherroomstotheAuditoriumwithoutpriorpermissionoftheMusicDepartment.
•PermissiontousetheorganmustbeobtainedfromtheMusicDepartment.Theorganmuststayatleast1foot away from the back and side walls of the stage, so as to not damage the hose.
•TheSoundBoothwillbekeptcleanandorganizedandlightsoffanddoorlockedwhennotinuse.
•NofoodordrinkareallowedintheAuditorium.
•PermissionistobeobtainedfromtheMusicDepartmentforanyconstructionordecorations.Stagepropsshould not reach beyond the height of the fascia board below the organ pipes, nor should any attachment be madetoanypermanentstructure.Allbuildingmaterialsaretobekeptorganizedandneat:noloosenails,wood, paint and brushes left sitting around.
•CandlesandopenflamesarenotallowedintheAuditorium.
•Alllightsmustbeturnedoffanddoorslockedwhennotinuse.
•Allcleanupistheresponsibilityoftheuserwithinonedayofuse.PleaseseetheAuditorium&LobbySpic&Span101cleaninglistonthebackofthisguidesheet.Uponcompletionofeventallmaterialsaretoberemovedbytheuserimmediately,unlesspriorarrangementshavebeenmadewiththeMusicDepartment.
- Over for Cleaning Instructions -
07-13 Ivory
39
Auditorium & Lobby Spic & Span 101Cleaningsuppliesarelocatedinthejanitorcloset,Room#131nexttothedoubledoorstotheChoirRoom.ObtainkeyfromMusicOffice.
AUDITORIUM
_____ No food or drink allowed in the auditorium. (Refreshments allowed in lobby and patio only. NOredorpurplejuiceinthelobby.)
_____ Pick up and remove all litter and programs from the auditorium and stage area, including the off-stage area.
_____ Remove all decorations.
_____ Dust mop stage and off-stage area.
_____Vacuuming:YoudoNOTneedtovacuumunlesstheauditoriumisexceptionallydirty.
_____SoundBooth:Makesureallequipmentisturnedoff,lightturnedoffandthedooris locked. Dispose of any litter.
_____ Turn out all auditorium lights.
_____ Lock all doors to auditorium.
LOBBY
_____ Remove all decorations from lobby.
_____ Fold tables (if used) and place them outside in the patio against the west wall for Custodial to pick up.
_____ Pick up and remove all litter from lobby area. (PLEASE NOTE: chocolate chip cookies often shed their chips and they get ground into the carpet. Please provide plates or napkins, and pick up any chips you see.)
_____Iftrashisover-flowing,removefrombinsanddisposeintrashreceptaclelocatedintheparkinglotbetweenPaulinHallandthegym.Replacetrashbags(storedinjanitorcloset, Room 131).
_____ Vacuum the lobby (if needed) focusing mainly on the refreshment area.
_____ Arrange all chairs, end tables and trash cans in lobby as you found them.
_____Ifyouusethekitchenette,leaveitcleanasoutlinedontheKitchenetteSpic&Scan.
_____Returnkey(s)totheMusicOffice(thereisadropboxlocatedinthedoorofroom#101).
- Over for Usage Guidelines -
40
Kitchenette Usage Guidelines•TheMusicDepartmentispleasedtoprovideaplacetopreparefoodanddrinkforsmallreceptionshostedbythe department, college, church, local community and other non-college entities when they use the Paulin Hall facility for an event.
•ThePaulinHallKitchenettemaybereservedbycontactingtheMusicOffice,andwillbepresentedtotheMusicFacultyinFacultyMeetingforapproval.
•Allfees,whereapplicable,willbepaidbytheuserbeforetheevent.PUCDepartments,Clubs,Church,PrepandElementarymustsupplyaGL#atthetimeofbookingwiththeunderstandingthatacleaningfeemaybechargeditthefacilityisnotleftcleanandorganized.
•AkeyforthekitchenettemaybeobtainedfromtheMusicOffice.Thepersonwhochecksoutthekeyisresponsiblefortheuseofthekitchenetteandinsuringthatitisleftcleanandorganized.
•Returnkey(s)totheMusicOfficenolaterthan24hoursafterevent(thereisadropboxlocatedinthedoorofroom#102).Failuretoreturnthekeywillresultina$50keycharge.
•Pleaseprovideyourowneatingutensils,napkins,tableclothes&decorations(please,noconfetti).
•Allservingware,pans,dishes,utensils,plasticeatingutensils,paperplates/cups/bowls&napkinsarethepropertyoftheMusicDepartment.Youmayuseallitemsexcepttheplasticeatingutensilsandpaperwareitems.
•Allcleanupistheresponsibilityoftheuserwithinonedayofuse.PleaseseetheKitchenetteSpic&Span101 cleaning list posted in the kitchenette and on the back of this policy.
•CleanlinessandhealthrequiresthatthepreparingoffoodbedoneinacleanKitchenette.Itisbesttousedisposable paper towels to wipe down counters and dry dishes as they do not carry bacteria. If you wish to use your own cloth hand towels, go ahead and use them, but be sure to avoid cross contamination by reserving certain towels for drying dishes, and other towels for wiping counters and hands. Be sure to take your towels with you when you are done. Do not use cloth dishrags unless they are disposable, and throw them away when you are done.
•Beforepreparingfood,wipecounterswithapapertowelandalittle409(underthesink)anddrywithpapertowel.
•Newspongesforwashingdishesarelocatedintheseconddrawerdownontheleft.
- Over for Cleaning Instructions -
07-13 Blue
41
Kitchenette Spic & Span 101_____CleanlinessandhealthrequiresthatthepreparingoffoodbedoneinacleanKitchenette.Itisbesttouse disposable paper towels to wipe down counters and dry dishes as they do not carry bacteria. If you wish to use your own cloth hand towels, go ahead and use them, but be sure to avoid cross contamination by re-serving certain towels for drying dishes, and other towels for wiping counters and hands. Be sure to take your towels with you when you are done. Do not use cloth dishrags unless they are disposable, and throw them away when you are done.
_____ Before preparing food, wipe counters with a paper towel and a little 409 (under the sink) and dry with paper towel.
_____ New sponges for washing dishes are located in the second drawer down on the left. After washing all pans,kettles,dishes&utensils,thoroughlydrythem,andputaway,thenusethespongetocleanthe rest of the kitchenette (or you may use one of the sponges under the sink.)
_____ Remove all leftover food from refrigerator.
_____Wipedowninsideofrefrigeratorwithwarmsoapysponge–rinseanddrywithpapertowel.
_____Wipedownoutsideoffrigwithalittle409cleanerandsponge–drywithpapertowel.
_____Wipedownbackofstove,frontandsidesusingnon-abrasivesideofspongeandalittle409tocut grease–drywithpapertowel.DONOTuseanycleanseronthestovetop–simplywipeoffwith plain water and sponge.
_____Cleanoven,ifused,withspongeandalittle409–drywithpapertowel.
_____Sweepandmopfloor.
_____CleansinkwithComet–thoroughlyrinse,anddrywithpapertowel,especiallyfaucet.
_____Spraycountertopwithalittle409–wipeoffwithpapertowel.
_____Placeusedspongeunderthesink,unlessitisexceptionallygrimy,thenthrowitaway.
_____Removefilledtrashbag,andreplacewithanewone(bottomleft-handdrawer). Dispose of trash in bin located in the parking lot between Paulin Hall and the gym.
_____Returnkey(s)totheMusicOffice(thereisadropboxlocatedinthedoorofroom#101).
- Over for Usage Guidelines -
42
PUC
Mus
ic D
epar
tmen
t Pro
gram
Lev
el S
LO
Rub
rics
Unacceptable
A.S.
B.S
. (II
I), B
.M. E
d (I
V)
B.M
. Composition
SLO
Rub
ric
Leve
l I
Leve
l II
Leve
ls II
I and
IV
Leve
l V
1. T
he m
usic
gra
duat
e w
ill
dem
onst
rate
a le
vel o
f co
mpe
tenc
e as
a so
lo a
nd
ense
mbl
e pe
rfor
mer
ap
prop
riate
for t
heir
chos
en
degr
ee p
ath.
The
stud
ent lacks
the
unde
rsta
ndin
g of
the
fact
ors
nece
ssar
y fo
r a su
cces
sful
pe
rfor
man
ce in
clud
ing:
•
Rhy
thm
ic a
ccur
acy
• A
ccur
ate
into
natio
n •
Mus
ical
exp
ress
iven
ess
• A
bas
ic a
naly
tical
un
ders
tand
ing
of th
e piece
The
stud
ent h
as a
basic
un
ders
tand
ing
of th
e fa
ctor
s of
a su
cces
sful
per
form
ance
but
do
es n
ot e
xhib
it th
em
cont
inua
lly th
roug
hout
the
perf
orm
ance
. The
fact
ors
include:
•
Rhy
thm
ic a
ccur
acy
• A
ccur
ate
into
natio
n •
Mus
ical
expressiveness
•
A b
asic
ana
lytic
al
unde
rsta
ndin
g of
the
piece
The
stud
ent h
as a
n excellent
un
ders
tand
ing
of th
e fa
ctor
s of
a su
cces
sful
per
form
ance
and
co
nsis
tent
ly e
xhib
its th
em
thro
ugho
ut th
e pe
rfor
man
ce.
The
fact
ors i
nclu
de:
• R
hyth
mic
acc
urac
y •
Acc
urat
e in
tona
tion
• M
usic
al
expressiveness
•
In-d
epth
ana
lytic
al
unde
rsta
ndin
g of
the
piece
The
stud
ent h
as a
n excellent
un
ders
tand
ing
of th
e fa
ctor
s of
a su
cces
sful
per
form
ance
but
m
ay n
ot e
xhib
it th
em
thro
ugho
ut th
e pe
rfor
man
ce.
The
fact
ors i
nclu
de:
• R
hyth
mic
acc
urac
y •
Acc
urat
e in
tona
tion
• M
usic
al
expressiveness
•
In-d
epth
ana
lytic
al
unde
rsta
ndin
g of
the
piece
2. T
he m
usic
gra
duat
e w
ill
eval
uate
mus
ic u
sing
the
appr
opria
te th
eore
tical
an
alys
is a
nd h
isto
rical
and
m
ultic
ultu
ral p
ersp
ectiv
es,
expr
essi
ng h
imse
lf or
her
self
clea
rly in
writ
ing
and
in
conversation.
The
stud
ent lacks
the
unde
rsta
ndin
g of
bas
ic m
usic
fu
ndam
enta
ls re
sulti
ng in
: •
Poor
mus
ic a
naly
sis
• A
poo
r und
erst
andi
ng
of th
e di
ffer
ent s
tyle
pe
riods
and
key
figu
res
of W
este
rn M
usic
•
Lack
of a
war
enes
s of
mus
ic a
nd m
usic
al
styl
es fr
om d
iver
se
cultures
The
stud
ent d
emon
stra
tes a
ba
sic
or m
argi
nal
unde
rsta
ndin
g of
the
following:
•
Bas
ic m
usic
fu
ndam
enta
ls le
adin
g to
mar
gina
l mus
ic
analysis
•
Awar
enes
s of t
he
diff
eren
t sty
le p
erio
ds
and
key
figur
es o
f W
este
rn M
usic
lead
ing
to su
cces
sful
identification
of
mus
ical
exa
mpl
es
• Aw
aren
ess o
f mus
ic
and
mus
ical
styl
es
from
div
erse
cul
ture
s
The
stud
ent c
lear
ly a
nd
cons
iste
ntly
dem
onst
rate
s a
solid
und
erst
andi
ng o
f the
following:
•
Mus
ic fu
ndam
enta
ls
lead
ing
to su
cces
sful
m
usic
ana
lysi
s •
Diff
eren
t co
mpo
sitio
nal
techni
ques
and
st
ylis
tic e
lem
ents
use
d th
roug
hout
the
diff
eren
t per
iods
of
Wes
tern
Mus
ic a
s ev
iden
ced
thro
ugh
succ
essf
ul a
naly
sis
• Fa
mili
arity
with
the
mus
ic o
f div
erse
cu
lture
s
The
stud
ent c
lear
ly a
nd
cons
iste
ntly
dem
onst
rate
s an
advanced
und
erst
andi
ng o
f the
fo
llow
ing:
•
Mus
ic fu
ndam
enta
ls
lead
ing
to su
cces
sful
m
usic
ana
lysi
s •
Diff
eren
t co
mpo
sitio
nal
tech
niqu
es a
nd
styl
istic
ele
men
ts u
sed
thro
ugho
ut th
e di
ffer
ent p
erio
ds o
f W
este
rn M
usic
as
evid
ence
d th
roug
h su
cces
sful
ana
lysi
s •
Res
pect
for a
nd
fam
iliar
ity w
ith th
e m
usic
and
mus
ical
st
yles
of d
iver
se
cultu
res
43
Unacceptable
A.S.
B.S
. (II
I), B
.M. E
d (I
V)
B.M
. Composition
SLO
Rub
ric
Leve
l I
Leve
l II
Leve
ls II
I and
IV
Leve
l V
3. T
he m
usic
gra
duat
e w
ill
dem
onst
rate
com
pete
ncy
to
cond
uct a
larg
e an
d sm
all
grou
p re
hear
sal a
ppro
pria
te to
th
eir d
egre
e pa
th.
The
stud
ent d
emon
stra
tes t
he
follo
win
g is
sues
: •
The
stud
ent d
oes n
ot
unde
rsta
nd b
asic
bea
t pa
ttern
s and
can
not
effe
ctiv
ely
exec
ute
them
in a
rehe
arsa
l si
tuat
ion
And/or
•
Tech
nica
l and
mus
ical
pr
oble
ms a
re n
ot
addr
esse
d in
the
rehe
arsa
l situ
atio
n.
The
stud
ent demonstrates
• B
asic
und
erst
andi
ng o
f th
e be
at p
atte
rns b
ut is
no
t con
sist
ent i
n ef
fect
ivel
y ex
ecut
ing
them.
• U
nder
stan
ding
of t
he
mus
ic fr
om a
met
rical
as
pect
onl
y •
The
abili
ty to
add
ress
te
chni
cal a
nd m
usic
al
prob
lem
s onl
y m
argi
nally
in a
re
hear
sal s
ituat
ion.
The
stud
ent c
lear
ly
demonstrates:
•
Con
sist
ent
unde
rsta
ndin
g o
f the
ba
sic
beat
pat
tern
s •
The
abili
ty to
ef
fect
ivel
y co
nduc
t cues
•
Und
erst
andi
ng o
f the
m
usic
al sc
ore
• Th
e ab
ility
to a
ddre
ss
mus
ical
and
tech
nica
l pr
oble
ms i
n th
e re
hear
sal s
ituat
ion
The
mus
ic g
radu
ate
clea
rly
dem
onst
rate
s the
follo
win
g:
• A
n ex
celle
nt
unde
rsta
ndin
g of
bot
h ba
sic
and
mul
ti-be
at
patterns
• Th
e ab
ility
to
effe
ctiv
ely
cond
uct
cues
•
Und
erst
andi
ng o
f the
m
usic
al sc
ore
• Th
e ab
ility
to a
ddre
ss
mus
ical
and
tech
nica
l pr
oble
ms i
n th
e re
hear
sal situation
4. T
he B
ache
lors
deg
ree
mus
ic g
radu
ate
will
dev
elop
th
e kn
owle
dge
base
and
skill
se
t to
wor
k w
ith c
urre
nt
tech
nolo
gy in
mus
ic n
otat
ion
and
synt
hesi
s, an
d in
oth
er
rele
vant
med
ia.
(N
OT
an S
LO fo
r the
A
.S. D
egre
e.)
The
stud
ent lacks
the
basi
c sk
ills n
eces
sary
to a
ccom
plis
h th
e fo
llow
ing:
•
Use
a c
ompu
ter
prog
ram
to n
otat
e m
usic
•
Rec
ord
or e
dit a
udio
re
cord
ing
on a
computer
• Sy
nthe
size
mus
ic u
sing
m
idi i
nter
face
with
a
computer
•
The
stud
ent h
as a
basic
co
mm
and
of te
chno
logi
cal
skill
s tha
t allo
w th
e fo
llow
ing:
•
Use
a c
ompu
ter
prog
ram
to n
otat
e si
mpl
e m
usic
•
Rec
ord
or e
dit a
udio
re
cord
ing
succ
essf
ully
bu
t with
out
soph
istic
atio
n on
a
computer
• Sy
nthe
size
mus
ic
usin
g m
idi i
nter
face
w
ith a
com
pute
r but
ca
nnot
mak
e ta
ke th
e "c
ompu
ter"
out
of t
he
mid
i sou
nd
The
stud
ent h
as a
good
com
man
d of
tech
nolo
gica
l sk
ills t
hat a
llow
the
follo
win
g:
• U
se a
com
pute
r pr
ogra
m to
not
ate
full
scor
es a
nd g
ener
ate
parts
in a
pro
fess
iona
l m
anne
r •
Rec
ord
or e
dit a
udio
re
cord
ing
succ
essf
ully
an
d pr
ofes
sion
ally
on
a computer
• Sy
nthe
size
mus
ic
usin
g m
idi i
nter
face
th
at so
unds
like
hu
man
inte
rpre
tatio
n of
mus
ic
The
stud
ent h
as a
n advanced
co
mm
and
of te
chno
logi
cal
skill
s tha
t allo
w th
em to
do
the
following:
•
Use
a c
ompu
ter
prog
ram
to n
otat
e fu
ll sc
ores
and
gen
erat
e pa
rts th
at a
ppea
r to
be
engr
aved
•
Rec
ord
or e
dit a
udio
re
cord
ing
with
rich
so
und
and
com
mer
cial
ly v
iabl
e results
•
Synt
hesi
ze m
usic
us
ing
mid
i int
erfa
ce
that
soun
ds li
ke h
uman
in
terp
reta
tion
of m
usic
an
d/or
live
performance
44
Unacceptable
A.S.
B.S
. (II
I), B
.M. E
d (I
V)
B.M
. Composition
SLO
Rub
ric
Leve
l I
Leve
l II
Leve
ls II
I and
IV
Leve
l V
5. T
he M
usic
Edu
catio
n gr
adua
te w
ill d
emon
stra
te th
e pe
dago
gica
l ski
lls n
eces
sary
to
be
an e
ffec
tive
mus
ic
educ
ator
.
(Onl
y ap
plie
s to
mus
ic
educ
atio
n st
uden
ts)
•
Mus
ic E
duca
tion
stud
ents
MU
ST re
ach
at le
ast a
leve
l III
pr
ofic
ienc
y an
d pr
efer
ably
a le
vel I
V
prof
icie
ncy
for t
his
SLO.
The
stud
ent d
emon
stra
tes:
•
Thei
r inability
to p
lay
all b
rass
, woo
dwin
ds,
percussion
•
n in
stru
men
ts a
nd/o
r voic
e at
a b
asic
leve
l •
Thei
r in-
abili
ty p
lay
pian
o at
a a
n ap
prop
riate
leve
l to
pass
the
keyb
oard
exam
•
Thei
r inability
to
mod
el a
ll br
ass,
woo
dwin
ds, p
ercu
ssio
n an
d/or
voi
ce to
thei
r st
uden
ts a
t a b
asic
leve
l •
Thei
r inability
to te
ach
all b
rass
, woo
dwin
ds,
perc
ussi
on a
nd/o
r vo
ice
to st
uden
ts a
t bo
th th
e el
emen
tary
an
d se
cond
ary
leve
l at
a ba
sic
leve
l
The
stud
ent d
emon
stra
tes:
•
Thei
r abi
lity
to p
lay
all b
rass
, woo
dwin
ds,
perc
ussi
on in
stru
men
ts
and/
or v
oice
at a
basic
level
• Th
eir a
bilit
y pl
ay
pian
o at
a le
vel j
ust
suff
icie
nt to
pas
s the
ke
yboa
rd e
xam
•
Thei
r abi
lity
to m
odel
al
l bra
ss, w
oodw
inds
, pe
rcus
sion
and
/or
voic
e to
thei
r stu
dent
s at
a basic
level
• H
ow to
teac
h al
l bra
ss,
woo
dwin
ds,
perc
ussi
on a
nd/o
r vo
ice
to st
uden
ts a
t bo
th th
e el
emen
tary
an
d se
cond
ary
leve
l at
a basic level
The
stud
ent d
emon
stra
tes:
•
Thei
r abi
lity
to p
lay
all b
rass
, woo
dwin
ds,
perc
ussi
on in
stru
men
ts
and/
or v
oice
at a
proficient
level
• Th
eir a
bilit
y to
pla
y a
four
-par
t hom
opho
nic
wor
k on
the
pian
o •
Thei
r abi
lity
to m
odel
al
l bra
ss, w
oodw
inds
, pe
rcus
sion
and
/or
voic
e to
thei
r stu
dent
s at
a proficient
level
• H
ow to
teac
h al
l bra
ss,
woo
dwin
ds,
perc
ussi
on a
nd/o
r vo
ice
to st
uden
ts a
t bo
th th
e el
emen
tary
an
d se
cond
ary
leve
l at
a proficient
level
The
stud
ent demonstrates:
•
Thei
r abi
lity
to p
lay
all
bras
s, w
oodw
inds
, pe
rcus
sion
in
stru
men
ts, a
nd/o
r vo
ice
at a
n exemplary
level
• Th
eir a
bilit
y to
pla
y
an in
trica
te fo
ur-p
art
Bac
h ch
oral
on
the
piano
• Th
eir a
bilit
y to
mod
el
all b
rass
, woo
dwin
ds,
perc
ussi
on a
nd/o
r voic
e to
thei
r stu
dent
s at
an exemplary level
• H
ow to
teac
h al
l bra
ss,
woo
dwin
ds,
perc
ussi
on a
nd/o
r vo
ice
to st
uden
ts a
t bo
th th
e el
emen
tary
an
d se
cond
ary
leve
l at
an exemplary level
6. T
he m
usic
gra
duat
e w
ill
dem
onst
rate
the
abili
ty to
co
mpo
se m
usic
.
The
stud
ent lacks
the
unde
rsta
ndin
g of
and
abi
lity
to
exec
ute
basi
c m
usic
fu
ndam
enta
ls re
sulti
ng in
: •
The
inab
ility
to
com
pose
mus
ic in
the
Wes
tern
con
cert
tradition
The
stud
ent d
emon
stra
tes a
ba
sic
or m
argi
nal
unde
rsta
ndin
g of
and
abi
lity
to: •
Com
pose
mus
ic in
the
Wes
tern
con
cert
tradition
The
stud
ent c
lear
ly a
nd
cons
iste
ntly
dem
onst
rate
s a
functional u
nder
stan
ding
of
and
abili
ty to:
• C
ompo
se m
usic
in th
e W
este
rn c
once
rt tradition
• C
ompo
se m
usic
for
visu
al m
edia
•
Com
pose
mus
ic
influ
ence
d by
oth
er
tradi
tions
or c
ultu
res.
The
stud
ent c
lear
ly a
nd
cons
iste
ntly
dem
onst
rate
s an
excellent
und
erst
andi
ng o
f and
ab
ility
to:
• C
ompo
se m
usic
in th
e W
este
rn c
once
rt tradition
• C
ompo
se m
usic
for
visu
al m
edia
•
Com
pose
mus
ic
influ
ence
d by
oth
er
tradi
tions
or c
ultu
res.
45
Com
posi
tion
Rub
ric
for
Juri
es a
nd R
ecita
ls
Scor
e C
raft
Pe
rson
al V
oice
C
onte
nt/
Eff
ectiv
enes
s C
reat
ivity
C
onve
ntio
ns
4
Show
s an
abili
ty to
m
ake
a pi
ece
soun
d ef
fect
ivel
y,
dem
onst
ratin
g cr
aft a
s a
com
pose
r
The
com
posi
tion
exce
llent
ly re
flect
s the
pe
rson
ality
and
vis
ion
of th
e co
mpo
ser
The
piec
e sp
eaks
to th
e au
dien
ce in
a
sign
ifica
nt w
ay.
The
mus
ic w
as o
rigin
al a
nd
fres
h.
The
perf
orm
er
disp
lays
a su
perio
r un
ders
tand
ing
of, a
nd
grea
t con
cert
for,
the
audi
ence
and
the
corr
ect p
erfo
rman
ce
etiq
uette
incl
udin
g dr
ess a
nd d
epor
tmen
t.
3
Ther
e ar
e on
e or
two
insi
gnifi
cant
sect
ions
in
whi
ch th
e co
mpo
ser c
ould
hav
e m
ade
bette
r cho
ices
in
orde
r to
be m
ore
artic
ulat
e.
The
com
posi
tion
has
one
or tw
o se
ctio
ns
that
cou
ld h
ave
been
w
ritte
n by
any
one,
but
th
e co
mpo
ser’
s pe
rson
ality
and
vis
ion
are
still
cle
arly
pre
sent
.
Alth
ough
som
e pa
ssag
es m
ay
seem
faci
le o
r in
effe
ctiv
e, th
e pi
ece
in g
ener
al
spea
ks to
the
audi
ence
.
One
or t
wo
pass
ages
soun
d tir
ed, b
ut m
ost o
f the
pie
ce
is o
rigin
al a
nd fr
esh
The
perf
orm
er
disp
lays
an
abov
e av
erag
e un
ders
tand
ing
of th
e au
dien
ce a
nd
the
corr
ect
perf
orm
ance
etiq
uette
in
clud
ing
dres
s and
de
portm
ent.
2
Ther
e ar
e pr
oble
ms
that
show
a sy
stem
ic
wea
knes
s in
craf
t, bu
t th
e er
rors
are
smal
l en
ough
that
the
com
pose
r’s v
isio
n is
st
ill d
isce
rnab
le.
The
com
pose
r’s
pers
onal
ity a
nd v
isio
n ar
e no
ticea
ble,
but
gr
eatly
obs
cure
d.
Ther
e ar
e pa
ssag
es th
at a
re
not i
nter
estin
g or
mov
ing,
but
th
e pi
ece
is st
ill
on b
alan
ce
mea
ning
ful.
In th
e m
ain
soun
d of
the
piec
e, th
ere
is li
ttle
that
is
new
, but
the
com
pose
r has
m
anag
ed to
cre
ate
a ne
w
take
on
an o
ld so
und.
The
perf
orm
er
disp
lays
an
adeq
uate
un
ders
tand
ing
of th
e au
dien
ce a
nd th
e co
rrec
t per
form
ance
et
ique
tte in
clud
ing
dres
s and
dep
ortm
ent.
1
Ther
e ar
e pr
oble
ms
that
show
a sy
stem
ic
wea
knes
s in
craf
t tha
t se
rious
ly o
bscu
re th
e co
mpo
ser’
s int
ent.
The
com
pose
r’s v
isio
n an
d pe
rson
ality
are
ha
rd to
per
ceiv
e.
Muc
h of
the
piec
e do
es n
ot
inte
rest
of m
ove
the
audi
ence
.
The
mus
ic so
unds
like
so
met
hing
we’
ve h
eard
be
fore
.
The
perf
orm
er
disp
lays
littl
e un
ders
tand
ing
of th
e au
dien
ce a
nd th
e co
rrec
t per
form
ance
et
ique
tte in
clud
ing
dres
s and
dep
ortm
ent.
0
The
wea
knes
ses i
n cr
aft a
re so
gre
at th
at
the
com
pose
r’s v
isio
n is
lost
The
com
pose
r’s
pers
onal
ity a
nd v
isio
n ar
e no
t app
aren
t in
this
pi
ece.
The
piec
e m
akes
lit
tle o
r no
conn
ectio
n w
ith
the
audi
ence
.
The
mus
ic is
bor
row
ed
alm
ost e
ntire
ly fr
om th
e co
mpo
sitio
ns o
f oth
ers.
The
perf
orm
er
disp
lays
no
unde
rsta
ndin
g of
the
audi
ence
and
the
corr
ect p
erfo
rman
ce
etiq
uette
incl
udin
g dr
ess a
nd d
epor
tmen
t.
MUSC-01Pacific Union College2016-2017Major in Music: Composition Emphasis, B. Mus.
Student Learning Outcomes
Students can: - Demonstrate skill in composition to provide a basis for a pro-
fessional career as a musical composer. - Apply specific knowledge in music theory, music history,
conducting, and instrumental or vocal pedagogy relevant to a professional career as a musical composer.
- Appreciate the diversity of musical styles within and outside the traditional canon of Western music.
- Think, speak, and write clearly and effectively about music. - Utilize skills to work with current technology in music nota-
tion and synthesis, and in other relevant media.
Occupational Information
What can I do with this major? This is a professional degree pursued primarily by those who wish to compose music as a career. There is a special emphasis on composing music for visual media.
Additional Education Required? A masters degree or even a doctorate are usually necessary before one can be considered for full-time college teaching posi-tions. One’s expertise and personality are the main keys to other opportunities open to graduates with this degree.
Public Sector vs. Denominational Many college teaching jobs should become available because of retirements over the next ten to fifteen years. There are very few paying musical composition opportunities in SDA churches. The majority of employment opportunities will be available in the public sector.
Job Outlook Recent surveys of the job market have shown that there are significant positions available, with good pay, in composing for media (TV, film, video games, advertising, social media, etc). It also is predicted that opportunities will increase in the near future.
Major Course Requirements
Minimum of 121.6 hours (49 upper-division hours)
Required Core Courses (61.6 hours):MUED 241 Basic Conducting 2MUEN Large Ensembles 12*MUHL 101 Collegium in Music 3.6**MUHL 205 Listening with Understanding 3MUHL 245 World Music and Culture 3MUHL 331 Music/Antiquity through Baroque 3MUHL 332 Music/Classic & Romantic Eras 3MUHL 333 Contemporary Music 3MUSP 391 Junior Seminar 1MUTH 121+121L Beginning Theory I & Laboratory 3+1MUTH 122+122L Beginning Theory II & Laboratory 3+1MUTH 123+123L Beginning Theory III & Laboratory 3+1MUTH 221+221L Interm Theory I & Laboratory 3+1MUTH 222+222L Interm Theory II & Laboratory 3+1MUTH 223+223L Interm Theory III & Laboratory 3+1MUTH 224 Music Tech: Notation 1MUTH 331 Orchestration & Arranging 3
Emphasis (60 hours):MUED 342 Instrumental Conducting 3MUED 343 Choral Conducting 3MUED 489 Senior Project 1MUHL 115 Survey of Music for Visual Media 3 MUSP 163 Instrumental/Vocal Lessons 6 MUTH 225 Music Tech: Editing & Synthesis 2MUTH 332 Counterpoint 3MUTH 333 Form & Analysis 3MUTH 334 Electronic Composition 2 MUTH 335 Adv. Tech & Comp for Visual Media 3 MUTH 432 Composition 1+1+1MUTH 442 Advanced Composition 15
Music Electives 13 13 additional hours selected from MUED, MUEN, MUHL, MUSP, and MUTH courses in consultation with the advisor.
* Participate in at least one large ensemble (Chorale, I Cantori, Or-chestra, Symphonic Wind Ensemble, or Keyboard Ensemble) during each quarter in residence, up to twelve quarters.
– For piano majors, 3 of the hours must be in Keyboard Ensemble. – For guitar majors, up to 3 of the hours may be Guitar Ensemble. – Vocal majors must be in a vocal ensemble. – Orchestral strings, woodwind, brass, and percussion instruments
must be in an instrumental ensemble.** To be taken each quarter in residence, up to twelve quarters.
46
MUSC-01Pacific Union College2016-2017Major in Music: Composition Emphasis, B. Mus.
General Education Requirements
To view general education requirements for this major, please refer to page A-05, Summary of General Education Requirements: B. Music Degree.
Piano Proficiency
Bachelor of Music degree students are required to pass the music department Piano Proficiency Test (PPT) Parts I, II at the beginning of their first quarter as a music major or take piano lessons until they have passed the PPT II. Information on the exams may be found in the music major handbook.
How to Construct Your Own Program
1. Counsel with your advisor. 2. Consider your aptitudes, interests, and available courses. 3. Schedule major courses and cognates first. 4. Fill the rest of your schedule with G.E. requirements. 5. For the freshman year include English, Religion, and PE
courses. Also include Basic Algebra I+II unless waived by previous work.
What the Degree Includes
A total of 192 quarter hours including: 1. A minimum of 60 upper division hours. 2. General Education requirements. 3. Major requirements. 4. Minimum 2.0 GPA, overall and major.
For More Information
Music DepartmentPacific Union CollegeOne Angwin AvenueAngwin, CA 94508(707) 965-6201
National Association of Schools of Music11250 Roger Bacon Drive #5 Reston, VA 22090Music Educators National Conference1902 Association Drive Reston, VA 22091
Website: www.puc.edu/music
Sample Four-Year Program
This sample curriculum is designed to show you how a program may be constructed and to help you select a proper sequence of courses in the major. It is not likely that these courses can always be taken in the order given. Your advisor will help you design a personalized program.
First Year F W SCollegium in Music 0.3 0.3 0.3Beginning Theory & Laboratories 4 4 4Ensemble 1 1 1Survey of Music for Visual Media 3 - -World Music and Culture - 3 -Listening with Understanding - - 3General Education/Electives 8 8 8
16.3 16.3 16.3
Second Year F W SCollegium in Music 0.3 0.3 0.3Intermediate Theory & Labs 4 4 4Composition 1 1 1Music Technology: Notation 1 - -Music Technology: Editing & Synthesis - 2 -Instrumental/Vocal Lessons 1 1 1Ensemble 1 1 1Basic Conducting - - 2General Education/Electives 8 7 7
16.3 16.3 16.3
Third and Fourth Years F W SCollegium in Music (senior year) 0.3 0.3 0.3Advanced Composition (junior year) 3 3 3Ensemble (junior year) 1 1 1Collegium in Music (senior year) 0.3 0.3 0.3Advanced Composition (senior year) 3 3 -Ensemble (senior year) 1 1 1Instrumental/Vocal Lessons 1 1 1Orchestration & Arranging (even) 3 - -Counterpoint (even) - 3 -Instrumental Conducting (even) - 3 -Form and Analysis (even) - - 3Music Electives 5 4 4Music History Sequence (odd) 3 3 3Electronic Composition (odd) 2 - -Choral Conducting (odd) - 3 -Adv Composition for Visual Media (odd) - - 3Junior Seminar - - 1Senior Project - - 1Senior Assessment Seminar - - .2General Education/Electives 9 6 10
31.6 31.6 31.8
* To be selected in consultation with the advisor.** Courses marked (even) or (odd) are taught in alternate years only. 2016-2017 is odd, 2017-2018 is even.
47
MUSC-02Pacific Union College2016-2017Major in Music: Music Education Emphasis, B. Mus.
Student Learning Outcomes
Students can: - Demonstrate skill as a solo and ensemble performer who can
work as a professional music educator. - Apply specific knowledge in music theory, music history, and
conducting relevant to a professional career as a music educator. - Appreciate the diversity of musical styles within and outside
the traditional canon of Western music. - Think, speak, and write clearly and effectively about music. - Utilize skills to work with current technology in music nota-
tion and synthesis, and in other relevant media. - Demonstrate the appropriate pedagogical background and teach-
ing experience to function as an effective K-12 music educator.
Occupational Information
What can I do with this major? This is a professional degree pursued primarily by those who wish to teach music in a school situation from preschool through grade twelve. It is strongly recommended that students taking this major also take the coursework leading to both California State Preliminary and SDA Basic credentials.
Additional Education Required? For those interested in elementary and secondary teaching in California, a fifth year is required for a full credential. The fifth year may or may not be at the graduate level. Additional infor-mation can be obtained from the Education Department.
Public Sector vs. Denominational Teaching jobs are available in the public school system as well as private Christian and SDA schools.
Job Outlook Pacific Union College has had excellent success placing its graduates in teaching positions, and during the past few years there have been more calls for music teachers than graduates to fill those calls. For increased marketability it is often wise to obtain endorsements for teaching additional subjects such as PE, history, language, etc. Competition is keen in some areas of music teaching; it is partic-ularly tight at the college level where administrators often receive dozens of applications for every opening. Recently both public and denominational school administrators are experiencing difficulty in finding enough qualified music teachers to fill openings. Most institutions or school systems have a salary schedule based on two criteria: years of education/degrees and teaching experi-ence. For more information regarding wages, visit www.aft.org.
Major Course Requirements
Minimum of 121.6 hours (63 upper-division hours)
Required Core Courses (61.6 hours):MUED 241 Basic Conducting 2MUEN Large Ensembles 12*MUHL 101 Collegium in Music 3.6**MUHL 205 Listening with Understanding 3MUHL 245 World Music and Culture 3MUHL 331 Music/Antiquity through Baroque 3MUHL 332 Music/Classic & Romantic Eras 3MUHL 333 Contemporary Music 3MUSP 391 Junior Seminar 1MUTH 121+121L Beginning Theory I & Laboratory 3+1MUTH 122+122L Beginning Theory II & Laboratory 3+1MUTH 123+123L Beginning Theory III & Laboratory 3+1MUTH 221+221L Interm Theory I & Laboratory 3+1MUTH 222+222L Interm Theory II & Laboratory 3+1MUTH 223+223L Interm Theory III & Laboratory 3+1MUTH 224 Music Tech: Notation 1MUTH 331 Orchestration & Arranging 3
Emphasis (60 hours):EDUC 101+L Intro to Teaching + Classroom Obs. 1+1EDUC 333 Educational Psychology 3MUED 251+2+3 Singers’ Diction 1+1+1MUED 338+L Music for Children + Lab 2+1MUED 342 Instrumental Conducting 3MUED 343 Choral Conducting 3MUED 381+2+3 Music in Elem. & Sec. Schools 2+2+2MUSP 163/363 Performance Studies: Major 12 (maximum 6 hours lower-division) MUSP 489*** Senior Recital 1
Five of the following courses 10Take the five courses that do not include your major instrumentMUED 360 Brass Methods & Techniques (2)MUED 361 Percussion Methods & Techniques (2)MUED 362 String Methods & Techniques (2)MUED 363 Vocal/Choral Methods & Techniques (2)MUED 364 Woodwind Methods & Techniques (2)MUED 365 Guitar Methods & Techniques (2)
One of the following options 3EDUC 362 Secondary Content Area (3) MUED 381+2+3L Music/ Elem & Sec. School Lab (1+1+1)
Pedagogy coursesework 2Two hours studying the pedagogy and literature in the area of the student’s performance emphasis.
Electives 9 9 additional hours of music electives, including at least 6 hours from upper-division MUED, MUHL, or MUTH courses.
* Participate in at least one large ensemble (Chorale, I Cantori, Or-chestra, Symphonic Wind Ensemble, or Keyboard Ensemble) during each quarter in residence, up to twelve quarters.
– For piano majors, 3 of the hours must be in Keyboard Ensemble. – For guitar majors, up to 3 of the hours may be Guitar Ensemble. (cont.)
– Music education majors are required to participate in both choral and instrumental ensembles for a minimum of 3 hours each.
– Vocal majors must be in a vocal ensemble for 9 hours, – Orchestral or wind ensemble instruments must be in an instrumen-
tal ensemble for 9 hours.** To be taken each quarter in residence, up to twelve quarters. *** Under unusual circumstances, MUED 489 Senior Project may meet
this requirement by special permission of the department.
48
MUSC-02Pacific Union College2016-2017Major in Music: Music Education Emphasis, B. Mus.
General Education Requirements
To view general education requirements for this major, please refer to page A-05, Summary of General Education Requirements: B. Music Degree.
Piano Proficiency
Bachelor of Music degree students are required to pass the music department Piano Proficiency Test (PPT) Parts I, II at the beginning of their first quarter as a music major or take piano lessons until they have passed the PPT II. Information on the exams may be found in the music major handbook.
How to Construct Your Own Program
1. Counsel with your advisor. 2. Consider your aptitudes, interests, and available courses. 3. Schedule major courses and cognates first. 4. Fill the rest of your schedule with G.E. requirements. 5. For the freshman year include English, Religion, and PE
courses. Also include Basic Algebra I+II unless waived by previous work.
What the Degree Includes
A total of 192 quarter hours including: 1. A minimum of 60 upper division hours. 2. General Education requirements. 3. Major requirements. 4. Minimum 2.0 GPA, overall and major.
For More Information
Music DepartmentPacific Union CollegeOne Angwin AvenueAngwin, CA 94508(707) 965-6201
Email: [email protected]
Website: www.puc.edu/music
National Association of Schools of Music11250 Roger Bacon Drive #5 Reston, VA 22090Music Educators National Conference1902 Association Drive Reston, VA 22091
Sample Four-Year Program
This sample curriculum is designed to show you how a program may be constructed and to help you select a proper sequence of courses in the major. It is not likely that these courses can always be taken in the order given. Your advisor will help you design a personalized program.
First Year F W SCollegium in Music 0.3 0.3 0.3Ensemble 1 1 1Music Performance 1 1 1Beginning Theory + Laboratories 4 4 4Music Technology: Notation 1 - -Singers’ Diction 1 1 1Intro to Teaching/Classroom Observation 2 - -World Music and Culture - 3 -Listening with Understanding - - 3Basic Conducting - - 2General Ed/Electives 6 6 4
16.3 16.3 16.3
Second Year F W SCollegium in Music 0.3 0.3 0.3Ensemble 1 1 1Music Performance 1 1 1Intermediate Theory + Laboratories 4 4 4Music Methods & Techniques* 2 2 2 Music for Children+Laboratory 3 - -General Ed/Electives 5 8 8
16 16 16
Third and Fourth Years F W SCollegium in Music 0.6 0.6 0.6Ensemble 2 2 2 Music Performance and Recital 2 2 3Music Methods & Techniques* 2 2 -Music Electives* 3 3 3Music in Elem/Sec Schools + Lab 3 3 3Music Pedagogy* - 1 1Instrumental Conducting (even)** - 3 -Choral Conducting (odd) - 3 -Music History Sequence (odd) 3 3 3Junior Seminar - - 1Orchestration & Arranging (even) 3 - -Educational Psychology - 3 -Senior Assessment Seminar - - .2General Education/Electives 13 6 15
31.6 31.6 31.8
* To be selected in consultation with the advisor. ** Courses marked (even) or (odd) are taught in alternate years only. 2016-2017 is odd, 2017-2018 is even.
49
MUSC-03Pacific Union College2016-2017Major in Music: B.S. Degree
Student Learning Outcomes
Students can: - Demonstrate a level of competence as a solo and ensemble
performer appropriate for a musician educated in the liberal arts.
- Apply specific knowledge in music theory, music history, and basic conducting.
- Appreciate the diversity of musical styles within and outside the traditional canon of Western music.
- Think, speak, and write clearly and effectively about music. - Utilize foundational skills in current technology in music
notation and synthesis.
sic notation and synthesis. Occupational Information
What can I do with this major? This degree should be considered as a preparation for fur-ther study in a variety of disciplines. For example, programs can be planned to meet the requirements for Pre-Medicine or Pre-Dentistry or graduate studies in music or other fields. It is anticipated that most graduates will continue education toward specialized, professional careers. One can teach in a private music studio with this degree.
Additional Education Required? Most graduates with this degree will want to pursue graduate study in some area before seeking employment.
Public Sector vs. Denominational Except for unusual cases, employment with only this degree is not to be expected.
Job Outlook Not applicable except for private studio teachers who can set up a successful studio in most communities. Earnings: Not ap-plicable except for private studio instruction: $30 to $100+ per hour.
Major Course Requirements
A minimum of 80.6 hours (20 upper-division hours)
Required Core Courses (71.6 hours):MUED 241 Basic Conducting 2MUEN Large Ensembles 12*MUHL 101 Collegium in Music 3.6**MUHL 205 Listening with Understanding 3MUHL 245 World Music and Culture 3MUHL 331 Music/Antiquity through Baroque 3MUHL 332 Music/Classic & Romantic Eras 3MUHL 333 Contemporary Music 3MUSP 391 Junior Seminar 1MUSP 163 and 363 Performance Studies: Major 12 (minimum of 3 hours upper-division)MUTH 121+121L Beginning Theory I & Laboratory 3+1MUTH 122+122L Beginning Theory II & Laboratory 3+1MUTH 123+123L Beginning Theory III & Laboratory 3+1MUTH 221+221L Interm Theory I & Laboratory 3+1MUTH 222+222L Interm Theory II & Laboratory 3+1MUTH 223+223L Interm Theory III & Laboratory 3+1MUTH 224 Music Technology: Notation 1At least one of the following courses: 1MUED 489 Senior Project (1) MUSP 489 Senior Recital (1)
Required Core Electives (9 hours):At least 9 hours from the following: 99 additional hours of music electives, including at least 6 hours from upper-division MUED, MUHL, or MUTH courses.
* Participate in at least one large ensemble (Chorale, I Cantori, Or-chestra, Symphonic Wind Ensemble, or Keyboard Ensemble) during each quarter in residence, up to twelve quarters.
– For piano majors, 3 of the hours must be in Keyboard Ensemble. – For guitar majors, up to 3 of the hours may be Guitar Ensemble. – Vocal majors must be in a vocal ensemble. – Orchestral strings, woodwind, brass, and percussion instruments
must be in an instrumental ensemble.** To be taken each quarter in residence, up to twelve quarters.
50
MUSC-03Pacific Union College2016-2017Major in Music: B.S. Degree
General Education Requirements
To view general education requirements for this major, please refer to page A-01, Summary of General Education Requirements: B.S. Degree.
Piano Proficiency
Bachelor of Science degree music majors are required to pass the music department Piano Proficiency Test (PPT) Parts I, II at the beginning of their first quarter as a music major or take piano lessons until they have passed the PPT II. Information on the exams may be found in the music major handbook.
How to Construct Your Own Program
1. Counsel with your advisor. 2. Consider your aptitudes, interests, and available courses. 3. Schedule major courses and cognates first. 4. Fill the rest of your schedule with G.E. requirements. 5. For the freshman year include English, Religion, and PE
courses. Also include Basic Algebra I+II unless waived by previous work.
What the Degree Includes
A total of 192 quarter hours including: 1. A minimum of 60 upper division hours. 2. General Education requirements. 3. Major requirements. 4. Minimum 2.0 GPA, overall and major.
For More Information
Music DepartmentPacific Union CollegeOne Angwin AvenueAngwin, CA 94508(707) 965-6201
Email: [email protected]
Website: www.puc.edu/music
National Association of Schools of Music11250 Roger Bacon Drive #5 Reston, VA 22090Music Educators National Conference1902 Association Drive Reston, VA 22091
Sample Four-Year Program
This sample curriculum is designed to show you how a program may be constructed and to help you select a proper sequence of courses in the major. It is not likely that these courses can always be taken in the order given. Your advisor will help you design a personalized program of studies.
First Year F W SCollegium in Music 0.3 0.3 0.3Beginning Theory + Laboratory 4 4 4Listening with Understanding 3 - -Intro to World Music and Culture - 3 -Music Technology: Notation 1 - -Music Performance 1 1 1Ensemble 1 1 1Basic Conducting - - 2General Education/Electives 6 7 8
16.3 16.3 16.3
Second Year F W SCollegium in Music 0.3 0.3 0.3Intermediate Theory + Laboratory 4 4 4Music Performance 1 1 1Ensemble 1 1 1General Education/Electives 10 10 10
16.3 16.3 16.3
Third and Fourth Years F W SCollegium in Music (junior year) 0.3 0.3 0.3Music Performance (junior year) 1 1 1Ensemble (junior year) 1 1 1Collegium in Music (senior year) 0.3 0.3 0.3Music Performance (senior year) 1 1 1Ensemble (senior year) 1 1 1Music Electives 3 3 3Music/Antiquity through Baroque (odd) 3 - -Music/Classic & Romantic Eras (odd) - 3 -Contemporary Music (odd) - - 3Junior Seminar - - 1Recital or Project - - 1Senior Assessment Seminar - - .2General Education/Electives 21 21 19
31.6 31.6 31.8
* Courses marked (even) or (odd) are taught in alternate years only. 2016-2017 is odd, 2017-2018 is even.
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MUSC-04Pacific Union College2016-2017Major in Music: A.S. Degree
Student Learning Outcomes
Students can: - Demonstrate a level of competence as a solo and ensemble
performer appropriate for a connoisseur musician. - Apply foundational knowledge in music theory, music history,
and conducting (ensemble leadership skills). - Appreciate the diversity of musical styles within and outside
the traditional canon of Western music.
Occupational Information
What can I do with this major? Holders of this degree can expect to be more involved in music making than the average college graduate. One might be employed as a church musician, a private studio teacher, an employee in a music store, an orchestral musician, or a myriad of other possibilities dependent upon the talent and interests of each person.
Additional Education Required? Many graduates with this degree will continue working toward a baccalaureate degree in music, which is required in some professional organizations for regular membership. Some others will expect to complete higher degrees in other professional areas such as medicine/dentistry, business, psychology, education, etc.
Public Sector vs. Denominational Except for unusual cases, employment with this degree is not to be expected. However, all holders of this degree should be able to contribute in some way to the musical ministries of their home churches.
Job Outlook Not applicable except for private studio teachers who can set up a successful studio in most communities. Earnings: Not applicable except for private studio instruction: $30 to $100+ per hour.
Major Course Requirements
A minimum of 42 hours
Required Core Courses (33 hours):MUED 241 Basic Conducting 2MUHL 105 Survey of Music 3MUHL 245 Intro to World Music and Culture 3MUTH 121+121L Beginning Theory I & Laboratory 3+1MUTH 122+122L Beginning Theory II & Laboratory 3+1MUTH 123+123L Beginning Theory III & Laboratory 3+1MUEN 6 Quarters of Large Ensemble 6MUSP 163 Performance Studies 6MUSP 289 Associate Recital 1Required Core Electives (9 hours):9 hours of music electives, selected in consultation with the music advisor. 9
52
MUSC-04Pacific Union College2016-2017Major in Music: A.S. Degree
General Education Requirements
To view general education requirements for this major, please refer to page A-07, Summary of General Education Require-ments: A.S. Degree.
Piano Proficiency
Associate of Science degree music majors are required to pass the music department Piano Proficiency Test (PPT) Part I at the beginning of their first quarter as a music major or take piano lessons until they pass the exam or graduate. Information on the exams may be found in the music major handbook.
How to Construct Your Own Program
1. Counsel with your advisor. 2. Consider your aptitudes, interests, and available courses. 3. Schedule major courses and cognates first. 4. Fill the rest of your schedule with G.E. requirements. 5. For the freshman year include English, Religion, and PE
courses. Also include Basic Algebra I+II unless waived by previous work.
What the Degree Includes
A total of 90 quarter hours including: 1. General Education requirements. 2. Major requirements. 3. Minimum 2.0 GPA, overall and major.
For More Information
Music DepartmentPacific Union CollegeOne Angwin AvenueAngwin, CA 94508(707) 965-6201
Email: [email protected]
Website: www.puc.edu/music
National Association of Schools of Music11250 Roger Bacon Drive #5 Reston, VA 22090Music Educators National Conference1902 Association Drive Reston, VA 22091
Sample Two-Year Program
This sample curriculum is designed to show you how a program may be constructed and to help you select a proper sequence of courses in the major. It is not likely that these courses can always be taken in the order given. Your advisor will help you design a personalized program of studies.
First Year F W SSurvey of Music 3 - -Beginning Theory + Laboratories 4 4 4Performance Studies 1 1 1Ensemble 1 1 1General Education & Electives 8 10 10
16 16 16
Second Year F W SIntro to World Music and Culture - 3 -Basic Conducting - - 2Performance Studies 1 1 1Ensemble 1 1 1Associate Recital - - 1Music Electives 3 3 3Assessment Seminar - - .1General Education & Electives 11 8 8
16 16 16.1
Courses marked (even) or (odd) are taught in alternate years only. 2016-2017 is odd, 2017-2018 is even.
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54
A-01Pacific Union College2016-2017Summary of General Education Requirements, B.S. Degree
The following sections may be completed in any order. However, please note that you must complete a 200-level religion course within your first two years of enrollment at PUC. This is a prerequisite to enrollment in any upper-division religion courses.
C. Building Scriptural Foundations One course from the following:
RELB 225 Books/Moses, RELB 230 Psalms/Wisdom Lit, RELB 240 Letters/Apostles, RELB 250 Parables/Jesus, RELB 265 Kings/Conquest, RELB 300 Princ/Biblical Interp, RELB 310 Prophets/Israel, RELB 328 Jesus & the Gospels, RELB 342 Biblical Books, RELB 350 Selected Topics, RELB 460 Paul & his Letters, RELT 205 Christian Beliefs
D. Exploring SDA Life & Thought One course from the following:
RELB 370 Studies/Daniel, RELB 371 Studies/Revelation, RELH 235 Ellen G White, RELH 360 Adventist Heritage, RELP 351 Ministry of Healing, RELT 220 SDA Beliefs, RELT 335 Theology/Sanctuary, RELT 336 Current Issues, RELT 337 Last Day Events, RELT 338 The Sabbath
E. Integrating Faith and Life One course from the following:
RELB 315 Biblical Ethics, RELP 235 Sharing Your Faith, RELP 350 Christian Ministry, RELT 216 Intro/Chr. Ethics, RELT 235 Christian Spirituality, RELT 240 Eco-theology, RELT 330 Christian/Media, RELT 355 Chr. Ethics/Society, RELT 350 Selected Topics, RELT 440 Christian Bioethics Psychology/Social Work Students Only: PSYC/SOWK 490 Religion, Ethics, & Human Sciences
A portion of the religion requirement may be waived for students who transfer a significant amount of coursework from non-Adventist colleges and universities. Contact the Records Office for details.
III. History and Social Sciences
A. History One sequence from the following:
Course #1 Course #2 (must be from same sequence as Course #1)
HIST 101+102 History of World Civilizations I, II HIST 134+135 History of the U.S. I, II
B. Social Sciences Two courses from the following:
Course #1 (must have prefix ANTH, PSYC, or SOCI) Course #2 (must have a prefix different from Course #1)
ANTH 124 Anthropology, ECON 261 Macroeconomics, ECON 265 Microeconomics, GEOG 210 World Geog, HIST 351 Hist of Culture, MKTG 360 Consumer Behavior, PLSC 124 Intro Amer/Govt, PLSC 328 Critical World Iss, PSYC 121 General Psych, PSYC 390 Gender Issues, SOCI 121 Intro to Sociology, SOCI 214 The Family, SOCI 232 American Social Problems, SOCI 355 “Racial” and Ethnic Relations
The Purpose of General Education
The general education program at Pacific Union College seeks to provide students with the knowledge, values, and skills they need to live Christ-centered, productive lives of integrity and service in a complex world. • A knowledge of human cultures and the natural world; • Seventh-day Adventist Christian values, including integrity,
justice, compassion, and wholeness; • The following skills: - To communicate effectively in written and spoken English; - To think critically and creatively about information, ideas,
and arguments; - To locate and use appropriately a broad variety of resources
and information; and - To learn and work collaboratively.
The General Education Program as summarized on this sheet is designed for a quick overview. The program is described in full in the General Catalog.
2 I. Foundations of Learning
English, Communication, and Algebra should be completed by the end of the freshman year and must be completed by the end of the sophomore year.
A. College Writing ENGL 101 College English I ENGL 102 College English II
B. Oral Communication COMM 105 Intro to Communication
C. Quantitative Reasoning One of the following options:
1 year of HS Alg. II with semester grades of C- or better, or Waiver Exam, or MATH 095+096 Basic Algebra I+II
STAT 222 Introduction to Statistics
II. Foundations of Faith
18 total hours of religion coursework Include 9 hours from RELB and RELT courses Include 6 hours from upper-division courses
Include each subsection described below
A. Prerequisite One of the following options:
High school religion courses with grades of C- or better, or Waiver Exam, or RELT 105 Introduction to the Bible This requirement must be completed within the first two quarters of enrollment at PUC.
B. Encountering Jesus RELB 150 Encountering Jesus
This requirement must be completed within the first year of enrollment at PUC.
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A-01Pacific Union College2016-2017Summary of General Education Requirements, B.S. Degree
IV. Arts and Humanities
A. Literature ENGL 301 Themes in Literature (Juniors and Seniors only)
B. Art, Music, Philosophy, Lang. & Culture Three courses from the following:
Course #1 (from a separate subsection) Course #2 (from a separate subsection) Course #3 (from a separate subsection)
Subsection 1. Visual Art ARTH 107 Hist/American Art, ARTH 115 Hist/West Art I, ARTH 116 Hist/West Art II, ARTH 278 Hist/Women Artists Subsection 2. Music MUHL 105 Survey of Music, MUHL 115 Music/Vis Media, MUHL 205 Listening, MUHL 206 Music/Worship, MUHL 245 World Music Subsection 3. Philosophy PHIL 101 Intro Philosophy, PHIL 390 Hist/Phil of Science, PHIL 485 Iss Science/Religion, PLSC 274 Political Thought, RELT 320 Philosophy of Religion Subsection 4. Language and Culture CHIN 111 Beg Chinese L&C, FREN 111 Beg French L&C, GRMN 111 Beg German L&C, ITAL 111 Beg Ital L&C, JAPN 111 Beg Japanese L&C, SPAN 111 Beg Spanish L&C
This option may only be met through an approved college-level language and culture course. Demonstrated language proficiency will not be applied to meet this requirement.
V. Math and Science
A. Science Two courses from the following:
Course #1 (must include a lab- bolded courses) Course #2 (must be from the other subsection)
Subsection 1. Physical Science ASTR 115 Astronomy, CHEM 101 Intro Chemistry, CHEM 102 Survey of Org Chem, CHEM 111 Gen Chem I, GEOL 233 Geology, PHYS 105 Introduction to Physics, PHYS 111 Gen Physics I, PHYS 211 Physics w/ Calculus I Subsection 2. Life and Environmental Science BIOL 101 Human Anatomy, BIOL 102 Human Physiology, BIOL 105 Intro to Biology, BIOL 111 Biol Foundations, BIOL 112 Biol Foundations, BIOL 113 Biol Foundations, BIOL 227 Nat Hist of California, BIOL 338 Field Biology, CHEM 481 Biochem I, ENVR 360 Conserv Biology, ENVR 361 Energy/Climate, ENVR 362 Pollution & Envr, MICR 134 Microbiology
B. Scientific & Mathematical Reasoning One course (may be from either subsection)
Subsection 1. Science Engaging Society BIOL 355 Issues/Origins, GSCI 205 Scientific Discoveries, PHYS 390 Hist/Phil of Science, PHYS 485 Science/Religion Subsection 2. Mathematical Reasoning (Note- Calculus I is a pre-requisite to all of these courses.) MATH 132 Calculus II, MATH 265 Elem Linear Algebra, MATH 275 Logic and Sets, MATH 451 History of Math
VI. Health and Fitness
A. Health One course from the following:
FDNT 235 Nutrition, HLED 162 Fitness for Life, HLED 166 Health Ed, HLED 169 Current Concerns
B. Fitness Four courses from the following:
ESAC-A Course ESAC Course ESAC Course ESAC Course
A portion of the fitness requirement may be waived for students who transfer a significant amount of coursework from non-Adventist colleges and universities. Contact the Records Office for details.
VII. Practical and Applied Arts
4 total hours from the options below Include courses from at least 2 different sections
A. Information Management INFS 147 PC Word Proc, INFS 148 PC Spreadsheets
B. Interpersonal Skills COMM 223 Interpers Comm, COMM 226 Pub Speak, PSYC 126 Assert Behav, PSYC 227 Conflict Resolution
C. Management of Personal Finance ACCT 121 Accounting, BUAD 118 Prsnl Money Mgmt, BUAD 223 Personal Law, MGMT 160 Small Bus Mgmt
D. Outdoor and Survival Skills AGRI 212 Greenhouse, AGRI 213 Vegetable Gardening, AVIA 101 Intro to Flight, EMER 180 Tech Rescue, EMER 280 Rescue & Survival, ESTH 365 Outdoor Exp
E. Visual and Performing Arts ARTF 100W, 101W, 102W Painting Workshops*, ARTF 121 Drawing Fund, ARTF 212 Ceramics I, ARTP 100W Photo Workshop*, ARTP 150 B&W Photo, ARTP 250 Digital Photo, DRMA 229 Acting I, DRMA 232 Movement, DRMA 241 Production Cred, MUEN (any) Music Ensembles, MUSP 120-4 Music Lessons (class) or MUSP 320-4 MUSP 162 Music Lessons (individual) or MUSP 362
* Workshops offered at Albion Field Station during the summer.
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A-05Pacific Union College2016-2017Summary of General Education Requirements, B. Music Degree
The following sections may be completed in any order. However, please note that you must complete a 200-level religion course within your first two years of enrollment at PUC. This is a prerequisite to enrollment in any upper-division religion courses.
C. Building Scriptural Foundations One course from the following:
RELB 225 Books/Moses, RELB 230 Psalms/Wisdom Lit, RELB 240 Letters/Apostles, RELB 250 Parables/Jesus, RELB 265 Kings/Conquest, RELB 300 Princ/Biblical Interp, RELB 310 Prophets/Israel, RELB 328 Jesus & the Gospels, RELB 342 Biblical Books, RELB 350 Selected Topics, RELB 460 Paul & his Letters, RELT 205 Christian Beliefs
D. Exploring SDA Life & Thought One course from the following:
RELB 370 Studies/Daniel, RELB 371 Studies/Revelation, RELH 235 Ellen G White, RELH 360 Adventist Heritage, RELP 351 Ministry of Healing, RELT 220 SDA Beliefs, RELT 335 Theology/Sanctuary, RELT 336 Current Issues, RELT 337 Last Day Events, RELT 338 The Sabbath
E. Integrating Faith and Life One course from the following:
RELB 315 Biblical Ethics, RELP 235 Sharing Your Faith, RELP 350 Christian Ministry, RELT 216 Intro/Chr. Ethics, RELT 235 Christian Spirituality, RELT 240 Eco-theology, RELT 330 Christian/Media, RELT 355 Chr. Ethics/Society, RELT 350 Selected Topics, RELT 440 Christian Bioethics Psychology/Social Work Students Only: PSYC/SOWK 490 Religion, Ethics, & Human Sciences
A portion of the religion requirement may be waived for students who transfer a significant amount of coursework from non-Adventist colleges and universities. Contact the Records Office for details.
III. History and Social Sciences
A. History One sequence from the following:
Course #1 Course #2 (must be from same sequence as Course #1)
HIST 101+102 History of World Civilizations I, II HIST 134+135 History of the U.S. I, II
B. Social Sciences One course from the following:
ANTH 124 Anthropology, ECON 261 Macroeconomics, ECON 265 Microeconomics, GEOG 210 World Geog, HIST 351 Hist of Culture, MKTG 360 Consumer Behavior, PLSC 124 Intro Amer/Govt, PLSC 328 Critical World Iss, PSYC 121 General Psych, PSYC 390 Gender Issues, SOCI 121 Intro to Sociology, SOCI 214 The Family, SOCI 232 American Social Problems, SOCI 355 “Racial” and Ethnic Relations
The Purpose of General Education
The general education program at Pacific Union College seeks to provide students with the knowledge, values, and skills they need to live Christ-centered, productive lives of integrity and service in a complex world. • A knowledge of human cultures and the natural world; • Seventh-day Adventist Christian values, including integrity,
justice, compassion, and wholeness; • The following skills: - To communicate effectively in written and spoken English; - To think critically and creatively about information, ideas,
and arguments; - To locate and use appropriately a broad variety of resources
and information; and - To learn and work collaboratively.
The General Education Program as summarized on this sheet is designed for a quick overview. The program is described in full in the General Catalog.
2 I. Foundations of Learning
These requirements should be completed by the end of the freshman year and must be completed by the end of the sophomore year.
A. College Writing ENGL 101 College English I ENGL 102 College English II
B. Oral Communication COMM 105 Intro to Communication
C. Quantitative Reasoning One of the following options:
1 year of HS Alg. II with semester grades of C- or better, or Waiver Exam, or MATH 095+096 Basic Algebra I+II
II. Foundations of Faith
18 total hours of religion coursework Include 9 hours from RELB and RELT courses Include 6 hours from upper-division courses
Include each subsection described below
A. Prerequisite One of the following options:
High school religion courses with grades of C- or better, or Waiver Exam, or RELT 105 Introduction to the Bible This requirement must be completed within the first two quarters of enrollment at PUC.
B. Encountering Jesus RELB 150 Encountering Jesus
This requirement must be completed within the first year of enrollment at PUC.
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A-05Pacific Union College2016-2017Summary of General Education Requirements, B. Music Degree
IV. Arts and Humanities
A. Literature ENGL 301 Themes in Literature (Juniors and Seniors only)
B. Art, Music, Philosophy, Lang. & Culture One course from the following (included in major)
MUHL 105 Survey of Music, MUHL 115 Music/Vis Media, MUHL 205 Listening, MUHL 206 Music/Worship, MUHL 245 World Music
One course from the following (from any subsection) Visual Art ARTH 107 Hist/American Art, ARTH 115 Hist/West Art I, ARTH 116 Hist/West Art II, ARTH 278 Hist/Women Artists Philosophy PHIL 101 Intro Philosophy, PHIL 390 Hist/Phil of Science, PHIL 485 Iss Science/Religion, PLSC 274 Political Thought, RELT 320 Philosophy of Religion Language and Culture CHIN 111 Beg Chinese L&C, FREN 111 Beg French L&C, GRMN 111 Beg German L&C, ITAL 111 Beg Ital L&C, JAPN 111 Beg Japanese L&C, SPAN 111 Beg Spanish L&C
This option may only be met through an approved college-level language and culture course. Demonstrated language proficiency will not be applied to meet this requirement.
V. Math and Science
A.-B. Science; Scientific and Mathematical Reasoning
Two courses from the following: Course #1 (must include a lab- bolded courses) Course #2 (must be from a different subsection)
Subsection 1. Physical Science ASTR 115 Astronomy, CHEM 101 Intro Chemistry, CHEM 102 Survey of Org Chem, CHEM 111 Gen Chem I, GEOL 233 Geology, PHYS 105 Introduction to Physics, PHYS 111 Gen Physics I, PHYS 211 Physics w/ Calculus I Subsection 2. Life and Environmental Science BIOL 101 Human Anatomy, BIOL 102 Human Physiology, BIOL 105 Intro to Biology, BIOL 111 Biol Foundations, BIOL 112 Biol Foundations, BIOL 113 Biol Foundations, BIOL 227 Nat Hist of California, BIOL 338 Field Biology, CHEM 481 Biochem I, ENVR 360 Conserv Biology, ENVR 361 Energy/Climate, ENVR 362 Pollution & Envr, MICR 134 Microbiology Subsection 3. Science Engaging Society BIOL 355 Issues/Origins, GSCI 205 Scientific Discoveries, PHYS 390 Hist/Phil of Science, PHYS 485 Science/Religion Subsection 4. Mathematical Reasoning (Note- Calculus I is a pre-requisite to all of these courses.) MATH 132 Calculus II, MATH 265 Elem Linear Algebra, MATH 275 Logic and Sets, MATH 451 History of Math
VI. Health and Fitness
A. Health One course from the following:
FDNT 235 Nutrition, HLED 162 Fitness for Life, HLED 166 Health Ed, HLED 169 Current Concerns
For students majoring in music education, HLED 166 is required.
B. Fitness Four courses from the following:
ESAC-A Course ESAC Course ESAC Course ESAC Course
A portion of the fitness requirement may be waived for students who transfer a significant amount of coursework from non-Adventist colleges and universities. Contact the Records Office for details.
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A-07Pacific Union College2016-2017Summary of General Education Requirements, A.S. Degree
C. Understanding Christian Faith and Foundations One course from the following:
Elective course from RELB, RELH, RELP, or RELT. The following courses are recommended: RELT 105 Intro to the Bible (if required in section A) RELB 225 Books of Moses RELB 230 Psalms and Wisdom Literature RELB 240 Letters of the Apostles RELB 250 Parables of Jesus RELB 265 Kings and Conquest RELB 300 Principles of Biblical Interpretation RELB 310 Prophets of Israel RELB 328 Jesus and the Gospels RELB 342 Biblical Books RELB 350 Selected Topics RELB 460 Paul and His Letters RELT 205 Christian Beliefs
D. Exploring SDA Life and Thought One course from the following:
RELB 370 Studies in Daniel RELB 371 Studies in Revelation RELH 235 Ellen G White RELH 360 Adventist Heritage RELP 351 Ministry of Healing RELT 220 Seventh-day Adventist Beliefs RELT 335 Theology/Sanctuary RELT 336 Current SDA Issues RELT 337 Last Day Events RELT 338 The Sabbath
A portion of the religion requirement may be waived for students who transfer a significant amount of coursework from non-Adventist colleges and universities. Contact the Records Office for details.
V. Health One course from the following:
FDNT 235 Nutrition HLED 162 Fitness for Life HLED 166 Health Education HLED 169 Current Concerns
VI. Fitness ESAC-A Course ESAC Course
A portion of the fitness requirement may be waived for students who transfer a significant amount of coursework from non-Adventist colleges and universities. Contact the Records Office for details.
VII. ElectivesSee other side.
The Purpose of General Education
The general education program at Pacific Union College seeks to provide students with the knowledge, values, and skills they need to live Christ-centered, productive lives of integrity and service in a complex world. • A knowledge of human cultures and the natural world; • Seventh-day Adventist Christian values, including integrity,
justice, compassion, and wholeness; • The following skills: - To communicate effectively in written and spoken English; - To think critically and creatively about information, ideas,
and arguments; - To locate and use appropriately a broad variety of resources
and information; and - To learn and work collaboratively.
The General Education Program as summarized on this sheet is designed for a quick overview. The program is described in full in the General Catalog.
2 Requirements
Requirements I, II, and III should be completed by the end of the freshman year and must be completed by the end of the sophomore year.
I. College Writing ENGL 101 College English I
II. Oral Communication COMM 105 Intro to Communication
III. Quantitative Reasoning One of the following options:
1 year of HS Alg. II with semester grades of C- or better, or Waiver Exam, or MATH 095+096 Basic Algebra I+II
IV. Religion 9 total hours of religion coursework Include 6 hours from RELB and RELT courses
Include each subsection described below
A. Prerequisite One of the following options:
High school religion courses with grades of C- or better, or Waiver Exam, or RELT 105 Introduction to the Bible This requirement must be completed within the first two quarters of enrollment at PUC.
B. Encountering Jesus RELB 150 Encountering Jesus
This requirement must be completed within the first year of enrollment at PUC.
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A-07Pacific Union College2016-2017Summary of General Education Requirements, A.S. Degree
VII. ElectivesTwo electives (each from a separate subsection):
Course #1 (from a separate subsection) Course #2 (from a separate subsection)
Section A. History & Social Science ANTH 124 Cultural Anthropology ECON 261 Macroeconomics ECON 265 Microeconomics GEOG 210 World Regional Geography HIST 101 History of World Civilizations I HIST 102 History of World Civilizations II HIST 134 History of the U.S. I HIST 135 History of the U.S. II HIST 351 History of Culture MKTG 360 Consumer Behavior PLSC 124 Introduction to American Government PLSC 328 Critical World Issues PSYC 121 General Psychology PSYC 390 Gender Issues SOCI 121 Introduction to Sociology SOCI 214 The Family SOCI 232 American Social Problems SOCI 355 “Racial” and Ethnic Relations
Section B. Literature, Art, Music, Philosophy, Language ARTH 107 History of American Art ARTH 115 History of Western Art I ARTH 116 History of Western Art II ARTH 278 History of Women Artists ENGL 301 Themes in Literature (Jrs and Srs only) MUHL 105 Survey of Music MUHL 115 Survey of Music for Visual Media MUHL 205 Listening with Understanding MUHL 206 Music in Christian Worship MUHL 245 Introduction to World Music PHIL 101 Introduction to Philosophy PHIL 390 History and Philosophy of Science PHIL 485 Issues Science and Religion PLSC 274 Introduction to Political Thought RELT 320 Philosophy of Religion Any college-level language course (CHIN, FREN, GRMN, ITAL, JAPN, RELL, SPAN, etc)
Section C. Science, Mathematics, Statistics ASTR 115 Astronomy BIOL 101 Human Anatomy BIOL 102 Human Physiology BIOL 105 Introduction to Biology BIOL 111 Biological Foundations I BIOL 112 Biological Foundations II BIOL 113 Biological Foundations III BIOL 227 Natural History of Calif BIOL 338 Field Biology BIOL 355 Issues in Origins CHEM 101 Introductory Chemistry CHEM 102 Survey of Organic Chemistry CHEM 111 General Chemistry I CHEM 481 Biochemistry I ENVR 360 Conservation Biology ENVR 361 Energy and Climate Change ENVR 362 Pollution and Environmental Quality GEOL 233 Geology GSCI 205 Scientific Discoveries MATH 132 Calculus II MATH 265 Elementary Linear Algebra MATH 275 Logic and Sets MATH 451 History of Mathematics MICR 134 Microbiology PHYS 105 Introduction to Physics PHYS 111 General Physics I PHYS 211 Physics with Calculus I PHYS 390 History and Philosophy of Science PHYS 485 Issues in Science and Religion STAT 222 Introduction to Statistics
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Index
Aldag, Richard--------------------------------------------- 30Arts Scholarship, Creative ------------------------------25A.S.---------------------------------------------------- 1, 52-53Attire Guidelines------------------------------------------18Audition Guidelines ---------------------------------6-7, 25Auditorium (Usage Policy) ----------------------26, 38-39B.Mus.Ed ---------------------------------------------1, 46-47B.Mus. Composition and Education ----------------4 - 5B.S. ----------------------------------------------------1, 50-51B.S. Recital - non-degree---------------------------------16Band Room (Instrumental Rehearsal Hall) ----------26Big Band (Jazz Ensemble) -------------------------------22Biographies-Faculty and Staff ----------------------30-34Boyles, Matthew-------------------------------------------30Brass Ensemble --------------------------------------------22Brass Quintet -----------------------------------------------22Building Hours ---------------------------------------------30Case, Del W. ------------------------------------------------34Certificate of Achievement -------------------------------29Chamber Ensembles --------------------------------------22Choral Audition -------------------------------------------23Choral Room -----------------------------------------------26Chorale --------------------------------------------------21-23Cohen, Joel--------------------------------------------------30Collegium in Music----------------------------------------12Collins, Walter ----------------------------------back coverComputer Lab (Usage Policy) ----------------------26, 37Concert & Recital Attendance --------------------------12Concert List ----------------------------------------------ii-iiiCreative Arts Scholarship -------------------------------25Credit Hour Policy ------------------------------------------3Curriculum Guides -----------------------------------46-59Davis, Rachelle Berthelsen -------------------------------31Degree Recital-Audition and Requirements -----16-20Degrees Offered -------------------------------------1, 46-59Dress Code--------------------------------------------------18Dropbox.com ---------------------------inside front coverDunbar, Linda ----------------------------------------------31Electronic PDFs ------------------------inside front coverEnsemble Overload Waiver -----------------------------22Ensemble Auditio Requirements -----------------------23Ensembles -----------------------------------------------21-23Entrance Audition-------------------------------------2, 6-7Entrance Examinations ----------------------------------13Estabrook, Pete --------------------------------------------31Evaluation, Sophomore ---------------------------------3-4Examinations -------------------------------------------13-14Exit Interview ----------------------------------------------14Facilities -------------------------------------------------26-27Faculty & Staff -----------------------------------------30-34Fees, Music Lesson -------------------------------------8, 24Financial Information ------------------------------------24Formal Jury ---------------------------------------------10-11General Education Requirements ------------------54-59General Student Recital ----------------------------------16Glass, Sadie------------------------------------------------ -31GNST 401 ----------------------------------------------------14Gospel Choir ------------------------------------------------22Guitar Ensemble -------------------------------------------21Halbe, Steve -------------------------------------------------32Handbell Choir ---------------------------------------------22
Health &Safety---------------------------------------------24Helmer, Auriel ----------------------------------------------32History, A Brief ---------------------------------------------35Honors and Social Groups -------------------------------29Hunt, Jennifer ----------------------------------------------32I Cantori -------------------------------------------------21-23Instrumental Rehearsal Hall ----------------------------26Instruments -------------------------------------------------27Jazz Ensemble ----------------------------------------------22Jobs for Students ------------------------------------------24Joint Recitals -------------------------------------------16-20Juries ---------------------------------------------------------10Jury Comments--------------------------------------------10Key Charge -------------------------------------------------24Keyboard Ensemble --------------------------------------21Keyboard Exam (PPT) ------------------------------13-14Kitchenette (Usage Policy) -------------------------------27Knight, Heather J. ------------------------------back coverLawrence, Dave ---------------------------------back coverLecourt, Nancy ---------------------------------back coverLearning Outcomes --------------------------------1, 42-45Lesson Fees ----------------------------------------------8, 24Lessons, Private -------------------------------------------8-9Lewis Scholarship -----------------------------------------25Libraries - Music --------------------------------------26-27Listening Exams -------------------------------------------14Lockers ---------------------------------------------------26-27Loye Organ Scholarship ---------------------------------25Mackett Brass Scholarship ------------------------------25Marks, Linda -----------------------------------------------32Mayes Scholarship ----------------------------------------25McGee, James ----------------------------------------------34Mendle, Jon -------------------------------------------------32Mercer, James ----------------------------------------------34MFAT --------------------------------------------------------14Milholland, John -------------------------------------------33Music Club --------------------------------------------------28Music Education Major -----------------------------4-5, 46Music Lessons ---------------------------------------------8-9Music Libraries ----------------------------------------26-27Music Major ---------------------------------------1-7, 46-59Music Composition Rubric ------------------------------45Music Purchasing ------------------------------------------24Music Scholarship -----------------------------------------25Office Hours ------------------------------------------------26Orchestra ----------------------------------------------------21Orchestra Audition ----------------------------------------23Patrick, Rachel---------------------------------------------33Paulin Center for the Creative Arts --------------------28Paulin Hall ----------------------------------------------26-27Paulson, Lisa Bissell ----------------------------back coverPCCA ---------------------------------------------------------28PDFs---------------------------------------inside front coverPerformance Class ----------------------------------------16Peterson, LeRoy --------------------------------------------33Pi Kappa Lambda -----------------------------------------29Piano Proficiency Test (PPT) ----------------------------13Portfolio ------------------------------------------------------15Post-graduate Jobs ----------------------------------------24Practice Hours -----------------------------------------------9Practice Rooms (Usage Policy) ---------------------27, 36
Pre-Music Majors-------------------------------------------9Private Music Lessons -----------------------------------8-9Program Level SLO Rubrics ------------------------42-45Quarterly Progress Report------------------------------14Raboy, Asher ------------------------------------------------33Rasmussen, Heidi ------------------------------------------33Rasmussen, Rosalie ----------------------------------------33Receptions -------------------------------------------17, 38-41Recital Attendance ----------------------------------------12Recitals --------------------------------------------------16-20Repertoire Classes -----------------------------------------16Repertoire Sheet -------------------------------------------10Repertoire Requirements for Scholarship ------------25Rubrics---------------------------------------------------42-45Scholarships ------------------------------------------------25Senior Composition Recital-----------------------------16Senior Project ----------------------------------------------16Senior Recital -------------------------------------------16-20SLO (Student Learning Outcomes) -------------1, 42-45Sophomore Evaluation -------------------------------------3Statement of Personal Goals ------------------------------4String Ensemble, Introductory --------------------------22Student Employment --------------------------------------24Student Learning Outcomes (SLOs) ------------1, 42-45Student Teaching ------------------------------------------4-5Summer Internships---------------------------------------24Symphonic Wind Ensemble ------------------------------21Symphonic Wind Ensemble Audition -----------------23Teacher Placement ------------------------------------------5Tests ------------------------------------------------------13-14Theory Placement Examination ------------------------13Theta Zeta ---------------------------------------------------29Tyner, Jennifer ----------------------------------back coverUpper Division Lessons -----------------------------------9Wheeler, Lynn ----------------------------------------------34Wilkes, Eve-Anne------------------------------------------34Williams, DeBrina -----------------------------------------34
ADMINISTRATION
Heather J. Knight, Ph.D., PresidentNancy Hoyt Lecourt, Ph.D., Vice President for Academic Administration and Academic DeanDave C. Lawrence, Ed.D., M.B.A., Vice President for Financial Administration and Chief Financial OfficerLisa Bissell Paulson, Ed.D., Vice President for Student Services and Dean of StudentsJennifer Tyner, M.A., Vice President for Marketing and Enrollment ServicesWalter Collins, B.A., Vice President for Advancement
MUSIC FACULTY
Phone6655 Rachelle Berthelsen Davis, D.M.A. Chair, Violin/Viola, Orchestra, Music History, Conducting, Survey of Music 7137 Asher Raboy, M.F.A. Assistnat Chair Symphonic Wind Ensemble, Theory, Conducting, Music Technology6623 Jenelle Anderson, D.M.A. Chorale & I Cantori Director, Voice6627 Rosalie Rasmussen, M.Mus. Piano, Music Education, Theory, Handbells, PCCA Director, Survey of Music7323 C. Lynn Wheeler, D.M.A. Piano, Music History, Theory
ADJUNCT MUSIC FACULTY
6204 Richard Aldag, Ph.D - Teaches Survey of Music6201 Glenda Bates, M.Mus. - Jazz Ensemble6204 Matthew Boyles, M.Mus. - Clarinet, Theory I6204 Joel Cohen, B.Mus. - Cello6201 Joel Dickerson, M.S.E. - Collaborative Piano6204 Pete Estabrook, M.F.A. - Trumpet 6201 Glass, Sadie, M.Mus. - Horn6203 Auriel Helmer, B.Mus.Ed. - Piano, Harp (PCCA only)6651 Jennifer Hunt, B.Mus. - Flute (PCCA only)6654 Linda Marks, B.Mus. - Violin, Viola6651 Jonathan Mendle, M.Mus. - Guitar6201 John Milholland - Euphonium, French Horn, Trombone 6201 Emmanuel “Manny” Mora, B.S. Music - Guitar (PCCA only)6204 Rachel Patrick, M.Mus. - Violin, chamber ensemble6626 LeRoy Peterson, M.Mus. (Emeritus) - Violin, Viola, History, Conducting6201 Michele Rafuse, student teacher - Flute6205 Heidi Rasmussen, B.Mus. - Piano, Violin, Voice6204 Eve-Anne Wilkes, D.M.A. - Voice6201 DeBrina Williams - Teaches Gospel Choir
6201 Linda L. Dunbar, Office Manager
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