The School of Humanities,
graduate studies, and honors
Lincoln University
Department of
Performing Arts
Music student
handbook
2012 - 2013
Table of Contents
Pages
Introduction ……… 4
I.
Objectives ………. 5
II.
Music Program
• Entrance Requirements ……… 6• Music Education Advisement Checklist ………. 7
• Music Performance Advisement Checklist ……… 8
• Minor in Music Advisement Checklist ……….……….. 9
III. Assessment of the Music Major
…………..………….…..……10• Applied Lessons and Practice Log ……..……….….…...15
• Daily Practice Log ………16
• Repertoire for Flute, Clarinet, Saxophone, French Horn ……17-23 • Voice ………..……….…………... 24
• Daily Practice Log ……….….…………..25
• Jury Requirements ………..…...………..26
• Jury Evaluation …..……….………..…….. 27
• Hearing ………..………..….…… 31
• Sophomore Review ………..……….…31
• Junior Recital Guidelines ………..……..…..….. 32
• Senior Recital Guidelines ………..…….. 33 •
• Piano Proficiency Exam ………..………….……. 34 • Piano Proficiency Evaluation Form …………..…….……. 35
IV.
Conduct
• Visual and Performing Arts Dress Code ….………….. 37 • Audience Etiquette. ………..………. 37 • Conduct Code ……….………….……. 38
Appendix A
• Writing Assessment ……….. 41Appendix B
• Music Portofolio ……… 43Introduction
The present handbook serves to provide students in the Performing Arts department with a complete understanding of course requirements, goals, objectives and operations of the department.
The faculty’s total focus is centered on the mission statement that states that the music
curriculum is designed to prepare students to be music performers and performance teachers. However, with our exceptional technology vested and poised to explore other directions within the broad music field (music composition, music technology, research and other non-classical forms of music), the goal is that all music disciplines will serve as a component of performance and music education.
This handbook contains definitive information regarding the students’ course of study at Lincoln University. The enclosed course degree requirements for the Bachelor of Arts in Music and Bachelor of Science in Music Education as well as the Minor in Music are meant to help guide the students and monitor their progress in the program.
In the Performing Arts Department, Practice!…Practice!…Practice! is the key, as well as regular attendance in class and the completion of assigned work.
You will determine your outcome. The faculty is here to assist you.
BEST OF LUCK
Dr. Alvin E. Amos, Chair Professor of Music
Department of Visual and Performing Arts Lincoln University
I.
Objectives
To educate students for professional careers in music performance and music education in the areas of vocal and instrumental music and to immerse students with the various musical and learning styles that presently are known.
To provide our students with “a bridge” to pursue graduate study, teaching, and other careers in music.
To remain abreast of the latest developments in music and to instruct students from an encompassing global perspective.
To provide “in service” to the Lincoln community when required and to reach out to the surrounding community through planned and publicized performances of the highest possible quality.
To retain and attract the highest quality faculty on the local, national, and international levels who possess the skills and have a passion for excellence to provide a stimulating and nurturing environment for students.
To work towards achieving accreditation and maintaining standards set by the National Association of Schools of Music andthe Pennsylvania Department of Education.
II.
THE MUSIC PROGRAM
The Mission of the Music Performance Program is to deliver a creative and comprehensive
curriculum of music performance with emphasis on an orchestral or band instrument, voice or piano that prepares students to begin careers as performers and for advanced music study.
The Mission of the Music Education Program is to: (1) prepare students for careers and further study in music education; (2) provide training and experience in music for all students; (3) broaden and expand knowledge and understanding of music through research and lectures; (4) enrich the general cultural life of the University community through concerts, recitals, and seminars; and (5) deliver a creative and comprehensive curriculum of music and music teacher-training that prepares students for careers as music teachers.
Entrance Requirements
Entering music majors and minors are encouraged to begin the music major curriculum during their first semester at Lincoln University. In order to determine the entering student’s performance proficiency and musical background, an audition and a battery of music tests are required before enrolling in music courses. Students who do not earn a satisfactory score on the Music Placement Examination are required to enroll in MUS-100 Music Fundamentals before enrolling in MUS-105 Music Theory I.
All music majors and minors are required to audition before the music faculty on a solo instrument or voice. Appointments for auditions and other music tests may be made through the Department of Visual and Performing Arts. Auditioning students must bring their own music scores. An
accompanist will be provided.
All music majors and minors are required to pass a Piano Proficiency examination before graduation. This exam may be taken at any time during the student’s enrollment, but no later than after four semesters of piano study. To prepare for this exam, students may enroll in Class Piano I-IV or MUS 2K1 (Piano Private Lessons.) Please note that MUS 2K1 is designated for students who have had at least three years prior piano study.
Students with deficiencies in performance and whom the Department places on probation must enroll in developmental applied music classes for a maximum of four semesters or until the minimum standards are reached. This status may require the student to continue to study beyond the normal four-year period.
Before the end of the sophomore year, approval must be obtained in writing from the music faculty in order to continue in the major. Music Education majors should also apply for admission to the Teacher Education Program after the completion of 48 credits with an overall cumulative grade point average of 3.0 or higher in order to enter the program and must maintain this average for the remainder of it.
Bachelor of Science in Music Education Fall - 1st year Spring - 1st year
ENG 101 English Composition I ENG 102 English Composition II FYE 101 First Year Experience Humanities Core - Intro to Music or Art SOS 151 African American Experience MAT 106 or Higher
HPR 101 Dimensions of Wellness MUS 101 Sight Singing and Ear Training
MUS 105 Theory I MUS 106 Music Theory II Applied Instrument Applied Instrument MUS 107 Class Piano I or MUS 2K1 MUS 108 Class Piano II Large Ensemble Social Science elective Praxis I - all 3 sections passed and all
clearances must be completed Large Ensemble For students who have never passed any section
of Praxis I, the PAPA test replaces Praxis I
Fall - 2nd year Spring - 2nd year
Physical Sciences Lab Science
EDU 201 Introduction to Education EDU 202 Education Psychology EDU 207 Sophomore Field Experience MAT 201 Math for Education Majors MUS 205 Music Theory III MUS 206 Music Theory IV
MUS 207 Class Piano III MUS 208 Class Piano IV Instrumental Methods Applied Instrument
Instrumental Methods EDU 206 Foundations in Special Education Applied Instrument Large Ensemble
Social Science elective Large Ensemble
Fall - 3rd year Spring - 3rd year
Foreign Language Foreign Language
ENG 207 World Lit I or ENG 208 Lit II EDU 205 Speech for Education Majors EDU 203 Ed and Psych of Exp. Child EDU 303 Reading in Content Area MUS 203 Music Lit and Styles 1 MUS 303 Music Lit and Styles II EDU 307 Junior Field Experience MUS 423 Elem Music Teaching Methods MUS 219 Conducting I + 10 hrs. internship minimum
Instrumental Methods MUS 220 Conducting II Instrumental Methods
Applied Instrument Applied Instrument Large Ensemble Large Ensemble
Fall - 4th year Spring - 4th year
Humanities Core (Intro to Rel.or Phil) EDU 420/422 Research EDU 330 Classroom Mgmt Strategies EDU 401 Student Teaching MUS 109 Voice Ped.
EDU 223 Acad. Dev for ELL
MUS 422 Intro to Music Technology 190 Field Hours are required before student teaching MUS 424 Sec. Music Teaching Methods Philadelphia Urban seminar (80 field hours) is
recommended. + 10 hrs. internship minimum Large Ensemble Applied Instrument Senior Recital (0) Praxis II (passed)
Bachelor of Arts in Music (Performance Concentration)
Fall - 1st year Spring - 1st year
ENG 102 English Composition I ENG 103 English Composition II FYE 101 First Year Experience Humanities Core (Intro to Music or Art) SOS 151 African American Experience MAT 106 Math
HPR 101 Dimensions of Wellness HPR 103 Fitness for Life
MUS 105 Theory I MUS 101 Ear Train & Sight Singing I MUS 107 Class Piano I or MUS 2K1 MUS 106 Theory II
Applied Instrument MUS 108 Class Piano II MUS 2E1 Concert Choir or MUS 2E7 Applied Instrument
Music Seminar MUS 2E1 Concert Choir or MUS 2E7 Music Seminar
Fall - 2nd year Spring - 2nd year
Lab Science Lab Science
ENG 207 World Lit I or ENG 208 Lit II Social Science
MUS 203 Music Lit and Styles I ( MUS 303 Music Lit and Styles II MUS 205 Music Theory III MUS 206 Music Theory IV
MUS 207 Class Piano III or MUS 2K1 MUS 208 Class Piano IV or MUS 2V1 MUS 226 Vocal Diction or MUS 228 MUS 227 Diction II or MUS 229 Applied Instrument Applied Instrument
MUS 2E1 Concert Choir or MUS 2E7 MUS 2E1 Concert Choir or MUS 2E7
Music Seminar Music Seminar
Fall - 3rd year Spring - 3rd year
Foreign Language Foreign Language MUS 219 Conducting I MUS 321 Arranging or
MUS 409 Vocal Pedagogy or MUS 407 MUS 322 Composition MUS 422 Intro to Music Technology MUS 496 Junior Recital Applied Instrument Applied Instrument
MUS 2E1 Concert Choir or MUS 2E7 MUS 2E1 Concert Choir or MUS 2E7 MUS 2E2 Opera Wkshp or Chamber MUS 2E2 Opera Wksp or Chamber
Music Seminar Music Seminar
Fall - 4th year Spring - 4th year
Foreign Language Foreign Language
Social Science Humanities Core (Intro Rel. or Philos.) MUS 220 Conducting II Applied Instrument
MUS 421 Form and Analysis MUS 2E1 Concert Choir or MUS 2E7 Applied Instrument MUS 2E2 Opera Workshop or Chamber MUS 2E1 Concert Choir or MUS 2E7 Senior Recital
MUS 2E2 Opera Workshop r Chamber Music Seminar Music Seminar
Minor in Music
Course of Study
Cr. Course
3 MUS 105 Music Theory I 3 MUS 106 Music Theory II
3 MUS 203 Music Literature and Styles I or II
____________________________________________________________9 credits_____ 1 MUS 2E1 Concert Choir - 1st semester
1 MUS 2E1 Concert Choir - 2nd semester 1 MUS 2E1 Concert Choir - 3rd semester
OR
1 MUS 2E7 Concert Band (Instrumentalists) - 1st semester 1 MUS 2E7 Concert Band - 2nd semester
1 MUS 2E7 Concert Band - 3rd semester
____________________________________________________________3credits_____ 1 Applied Voice or Instrument - 1st semester
1 Applied Voice or Instrument - 2nd semester 1 Applied Voice or Instrument - 3rd semester 1 Applied Voice or Instrument - 4th semester
____________________________________________________________4 credits____ 1 MUS 2K6 Piano Ensemble - 1st semester
1 MUS 2K6 Piano Ensemble - 2nd semester 1 MUS 2K6 Piano Ensemble - 3rd semester
OR
1 MUS 2E2 Opera Workshop - 1st semester 1 MUS 2E2 Opera Workshop - 2nd semester 1 MUS 2E2 Opera Workshop - 3rd semester OR
1 MUS2E3 Jazz Ensemble - 1st semester 1 MUS2E3 Jazz Ensemble - 2nd semester 1 MUS2E3 Jazz Ensemble - 3rd semester
___________________________________________________________ 3 credits_____ 1 Junior Recital
___________________________________________________________ 0 credit______ 1 MUS 323 Jazz and American Culture
___________________________________________________________ 3 credit______
Total 22 credits
III.
Assessment of the Music Major
I. MISSION STATEMENT
With emphasis on performance, literature and materials of music studies, and
pedagogical studies, the music curriculum is designed to prepare students to be music performers and performer teachers. But it is not restricted to these two areas. It provides music students an opportunity to independently explore other directions within the broad music field (music composition, music practices using technology, music business, research, and non-classical forms of music, among them), and to concentrate more fully on those areas that interest them as a component of performance and music education.
The broad view is that the music curriculum prepares students for professional careers and for further study in music. Within a strong core of liberal arts courses, the music curriculum offers a program in music performance on a solo instrument or voice to a highly selective group of gifted students. Students admitted to this program earn the Bachelor of Arts degree upon satisfactory completion. It also offers a curriculum that leads to the Bachelor of Science degree in music education and teacher certification in the Commonwealth of Pennsylvania. This program focuses on music teaching techniques-methodologies and on solo performance. Students in both degree programs are required to present solo recitals as they culminate their studies.
II. Student Learning Outcomes for the Music Performance Major
1. Students will demonstrate knowledge and development of physical coordination and technical skill required for specific musical activity (singing, instrumental
performance and ensemble participation).
2. Students will demonstrate knowledge and skills necessary to prepare for performance independent of the applied music instructor.
3. Students will be able to articulate knowledge of applicable performance pedagogy including teaching methods and repertory.
4. Vocal majors will be able to sing in four languages: English, Italian, French and German.
5. Students will be able to discuss the elements of music, the historical eras of musical style, and the general characteristic forms of the historical eras.
6. Students will be able to demonstrate knowledge of essential form, harmony, and structure in traditional western music.
7. All music majors must successfully perform a jury examination before the music faculty at the end of each semester.
8. Non-piano majors will demonstrate basic piano skills as described in the department’s Student Handbook.
9. Students will develop musicianship to the highest possible level in areas of ensemble playing or singing through collaborative understanding and knowledge of literature through varied ensemble experience.
III. Student Learning Outcomes for the Music Education Program Major
1. Students will demonstrate knowledge of music teaching methodologies, literature, and techniques appropriate to kindergarten through twelfth grades.
2. Students will demonstrate their understanding of the basic performance skills of
main instruments of the brass, percussion, strings, woodwind families, the piano, and of voice
3. Students will demonstrate a mastery of conducting techniques and will be able to apply them to vocal and instrumental ensembles with a focus on music suitable for the
elementary, middle, and high school ensembles.
4. Students will be able to discuss the elements of music, the historical eras of musical style, and the general characteristics of forms of the historical eras of music.
5. Students will be able to demonstrate competency in ear training through audiation and dictation.
6. Students will be able to demonstrate knowledge of essential form, harmony, and structure in traditional western music.
7. All music majors successfully perform a “jury examination” before two or more faculty members at the end of each semester. (as of fall 2011)
8. Student teachers are expected to demonstrate a synthesis of all competencies and skills related to teaching music in a classroom setting - including those related to musical and pedagogical skills, knowledge, and application of appropriate methodologies,
proficiency in conducting, and historical, stylistic, and analytical skills acquired in prior courses.
9. Students will demonstrate proficiency in their major instrument or voice by performing in a large ensemble each semester (choir, opera workshop, concert band, string ensemble, etc.).
IV. LEARNING OUTCOMES REFLECTED IN THE MUSIC CURRICULUM
Expected Outcomes Music Courses and Activities
A. Students will have a firm grasp of knowledge, concepts, and skills of the literature, history, and materials of music, and music performance practices.
MUS-100 Music Fundamentals MUS-105,106 Music Theory I & II MUS-203,204 Music Lit . and Styles I & II MUS-205,206 Advanced Theory III & IV MUS-303,304 Music Lit. & Styles III & IV MUS-322 Composition MUS-323 Jazz in American Culture MUS-421 Form and Analysis
MUS-422 Introduction to Music Technology MUS-495 Independent Research/Study B. Students will demonstrate professionalism, skill,
literature, and musical development on a solo instrument or voice.
Applied music courses, junior solo recital and/or senior solo recital; departmental student recitals, studio performance classes
C. Students will understand the creative, business, and computer technology of the music industry.
MUS-321 Arranging MUS-322 Composition MUS-422 Electronic Music
MUS-495 Independent Research/Study D. Students will demonstrate knowledge of music
teaching methodologies-techniques appropriate to Kindergarten through twelfth
(K-12) grades.
MUS-107,108 Piano I and Piano II MUS-207,208 Class Piano III & IV MUS-219 Choral Conducting MUS-220 Instrumental Conducting MUS-407,408 Piano Pedagogy I & II MUS-415 Strings Teaching Methods MUS-423 Elem. School Teaching Methods MUS-424 Sec. School Teaching Methods MUS-425 Brass Teaching Methods MUS-435 Woodwinds Teaching Methods MUS-445 Percussion Teaching Methods;
Field observation (100 hours), student teaching; successful completion of PRAXIS I and II
E. Students will demonstrate their understanding of the basic performance skills on the main instruments of the woodwinds, brasses, percussions, and strings families, of singing, and of the keyboard (piano).
MUS-107,108 Piano I and II MUS-109 Vocal Instruction I MUS-110 Vocal Instruction II MUS-207,208 Class Piano III & IV MUS-407,408 Piano Pedagogy I & II MUS-415 Strings Teaching Methods MUS-425 Brass Teaching Methods MUS-435 Woodwinds Teaching Methods MUS-445 Percussion Teaching Methods; Applied Music Courses
Proficiency examinations-juries in piano, brasses, woodwinds, percussions, strings, voice
F. Students will demonstrate a mastery of conducting techniques and will be able to apply them to the direction of vocal-choral and instrumental ensembles.
MUS-219 Choral Conducting MUS-220 Instrumental Conducting MUS-423 Elem. School Teaching Methods MUS-424 Sec. School Teaching Methods Concert Choir, Band, Jazz Ensemble
G. Students will demonstrate their understanding and development of music research and writing skills.
MUS-203,204 Music Lit. and Styles I and II MUS-205,206 Advanced Theory III and IV MUS-303,304 Music Lit. and Styles III and IV MUS-421 Form and Analysis
MUS-495 Independent Research/Study
H. Students will gain an understanding and appreciation of other cultures through music study and performance.
MUS-203,204 Music Lit. and Styles I and II MUS-303,304 Music Lit. and Styles III and IV MUS-423 Elem. School Teaching Methods MUS-424 Sec. School Teaching Methods
V. LEARNING OUTCOMES, ASSESSMENT METHODS/CRITERIA, AND TIME FRAMES
Outcomes Methods/Criteria Time Frames
A. Students will have a firm grasp of knowledge, concepts, and skills of the literature, history, and materials of music, and music performance practices.
Pre-Test Post Test
PRAXIS II and/or Graduate Record Examination Examinations Quizzes
Juries, Auditions Solo Performances
When students enter programs When students complete MUS-206 Advanced Theory During final year
On-going On-going On-going On-going B. Students will demonstrate
professionalism, skill, literature, and musical development on a solo instrument or voice.
Auditions Juries
Student Recitals
Junior and/or Senior Recitals
Upon entering the program On-going each semester Final two years of study C. Students will understand
the creative, business, and computer technology of the music industry.
Internships Independent Study
On-going
D. Students will demonstrate knowledge of music teaching methodologies-techniques appropriate to Kindergarten through twelfth (K-12) grades. Field Observation Student Teaching PRAXIS II
Junior and senior years During final year
E. Students will demonstrate their understanding of the basic performance skills regarding keyboard and vocal techniques, woodwinds, brass, strings, and percussion methods.
Proficiency Examinations Juries
Student Recitals
Junior and senior years On-going
F. Students will demonstrate a mastery of conducting techniques and will be able to apply them to the direction of vocal-choral and instrumental ensembles.
Proficiency Examinations Upon completion of respective courses in choral and instrumental conducting
G. Students will demonstrate their understanding and development of music research and writing skills.
Oral Presentations Class Projects Independent Study
On-going
H. Students will gain an understanding and
appreciation of other cultures through music study and performance. Field Observations Internships Student Teaching Class Presentations Research Projects/Papers Junior year On-going Senior year On-going On-going
V. ASSESSMENT PLAN AND USE OF DATA
a. The Department of Music is developing specific assessment tools and tests to be utilized for music majors and minors. In addition to these, the Department utilizes standardized comprehensive examinations as part of the exit process.
The assessment battery for the Music major is as follows: 1. Entrance Battery upon entrance into the program
a. Pre-test in music fundamentals, music literature, and general knowledge of music
b. Video-recorded audition on solo instrument or voice 2. Sophomore-Junior Battery
a. Portfolio review (papers, quizzes, examinations, research papers, original projects, programs, recordings, jury adjudication)
b. Post test in music fundamentals, literature, and general music knowledge
c. Auditions on solo instrument or voice d. Piano proficiency
e. PECT – PAPA 3. Senior Battery
a. Graduate Record Examination or PRAXIS II
b. Proficiencies in brasses, woodwinds, percussion, strings, and conducting
c. Senior solo recital
d. Student teaching (for music education) e. Senior exit interview
4. Follow-up Survey Questionnaire B. Schedule of Assessment Battery
Outcomes Assessment Battery
A. Students will have a firm grasp of knowledge, concepts, and skills of the literature, history, and materials of music, and music performance practices.
1. pre-test 2. past-test 3. PRAXIS II (GRE) 4. portfolio B. Students will demonstrate professionalism, skill, literature, and musical
development on a solo instrument or voice.
Auditions Junior solo recital Senior recital C. Students will understand the creative, business, and computer
technology of the music industry.
Portfolio review
D. Students will demonstrate knowledge of music teaching
methodologies-techniques appropriate to Kindergarten through twelfth (K-12) grades.
PRAXIS II Student teaching
E. Students will demonstrate their understanding of the basic performance skills on the main instruments of the woodwinds, brasses, percussions, and string families, of singing, and of the keyboard (piano).
Proficiency juries Student teaching
F. Students will demonstrate a mastery of conducting techniques and will be able to apply them to the direction of vocal-choral and instrumental ensembles.
Student teaching Proficiency jury
G. Students will demonstrate their understanding and development of music research and writing.
Portfolio review
H. Students will gain an understanding and appreciation of other cultures
through music study and performance. Student teaching Portfolio review
C.Use of Assessment Results
The results of the assessment battery will be used to improve the Music
curriculum, teaching strategies and planning, course revisions, student learning, and to make the Music Program more relevant, meaningful, and beneficial to the students it serves.
Applied Lessons
The student is required to enroll in applied (private) lessons in each semester of full-time study except for the student teaching semester. Each major and minor must pass each course with a minimum grade of “C” for the semester in order to graduate. These courses are the primary means by which music students prepare for
Sophomore Review, which is required to move up to junior level of study.
Please note a Junior Recital is required of all performance majors to move up into senior level of study. It serves as the final music requirement for music minors. The Senior Recital serves as part of the Writing Proficiency Examination under the direction of the major applied instructor. Each recitalist is required to write extended program notes for literature performed on the senior recital.
Students taking applied lessons must sign up for weekly lesson time every semester they are enrolled. Students must have access to all necessary equipment and music before attending lessons. Losing music or forgetting to bring required repertoire is not tolerated and will be subject to a demerit. This demerit may result in one lowered grade level.
Procedures for applied lessons may vary, but usually consists of lessons with the instructor of students’ chosen instrument or voice. The professor will meet with the student alone or in a small group for one half hour or one hour per week depending upon the section of the course.
Freshmen may be required to take group lessons until they successfully complete an audition allowing them to officially enter into the music program.
A WORK BY A COMPOSER OF AFRICAN DESCENT IS REQUIRED FOR EACH SEMESTER OF STUDY.
DAILY PRACTICE LOG
Date:____________ (To be turned in weekly to applied teacher)
Name:_________________________ Applied Instructor:___________________
Applied practice sessions must be recorded on this form. This log should be turned in to your private teacher at the beginning of each weekly private lesson. Use the following guidelines for a successful practice.
Assignment (Repertoire) Date Accomplished ______________________________________ _________________ ______________________________________ _________________ ______________________________________ _________________
Technical Exercises (Describe the purpose of the exercise)
_____________________________________________________________________________ _____________________________________________________________________________ _____________________________________________________________________________ _____________________________________________________________________________
Diction or translations worked on. List diction problems and write about the text of the song (your interpretation)
_____________________________________________________________________________ _____________________________________________________________________________ _____________________________________________________________________________ _____________________________________________________________________________
Memorization Pieces Notes or Text from
Measure to Measure ___________________________________________ _______ _______
___________________________________________ _______ _______ ___________________________________________ _______ _______ ___________________________________________ _______ _______
Musical Notation (Do I understand how to count this composition? Can I count aloud? Do I understand the musical terms listed?)
_____________________________________________________________________________ _____________________________________________________________________________ _____________________________________________________________________________ _____________________________________________________________________________
Weekly self-evaluation (Describe what you feel you accomplished this week; what you didn’t accomplish; what you need help with.)
_____________________________________________________________________________ _____________________________________________________________________________ _____________________________________________________________________________ _____________________________________________________________________________ (continue on reverse side if needed)
A minimum of two works (at performance level) is required for instrumentalists each semester.
FLUTE:
Melodious and Progressive Studies, Books I-IV 24 Concert Pieces, Cavally
Handel Sonatas Mozart Concerti
Suite in B Minor, Camus
Famous Flute Studies, Anderson J.S. Bach Sonatas
Hindemith Sonatas 24 Caprices, Anderson Virtuoso Etudes, Jean-Jean
… and other works of comparable difficulty
CLARINET:
Klose, Lazarus and Rose Studies Concertino, Von Weber
Concerto in B Flat, Karl Stamitz First Concerto, Rossini
Concerto in E Flat, Schumann Sonata, Spohr
Sonata, Hindemith Clarinet Trio, Brahms
Concerto in A Major K. 622, Mozart Rhapsody, Debussy
… and other works of comparable difficulty
SAXOPHONE:
Scales and Arpeggios Book I, II, and III, Mule Saxophonist Workbook, Teal
Sonata, Hindemith
27 Virtuoso Studies, Iasilli Concert Etudes, Rascher
Concert and Contest Collection (Tenor, Alto and Baritone) Sonata, Creston
Concertino, Rueff
Fluent Scales and arpeggios in all keys -four octaves
Various technical studies and graded materials from a classical piano anthology or other compositions that an instructor deems appropriate to the musical growth of the piano student
• J. S. Bach invention or sinfonietta( selections from Anna Magdalena Notebook for BS degree candidates)
• C.P.E. Bach Solfegietto • Scarlatti Sonata
• Haydn Sonatas or other works
• Mozart Sonata or Variations or shorter works • Schubert Impromptu or Moment Musicaux • Clementi sonatinas
• Beethoven sonata, sonatina or bagatelle • Schumann various works
• Brahms Intermezzo (or similar work) • Chopin various works
• Edvard Grieg (Lyric Pieces)or other works • Mendelssohn Song Without Words or other works
• Various works by any of the following composers: George Gershwin, Dimitri Kabalevsky, Aram Khatchaturian, Franz Liszt, Bela Bartok, Claude Debussy, Maurice Ravel, Alexander Scriabin and other 20th-21 century composers.
. Piano Works by Composers Of African Descent
BRASS REPERTORY LIST
Edited recommendations from Scott Whitner’s “A Complete Guide to Brass” Second Edition Trumpet
SOLOS – Easy (Freshmen)
1. Adams: The Holy City (Boosey & Hawkes)
2. Bach: Aria: Bist du bei mir (If Thou Be Near), arr. – any. 3. Bakaleinikoff: Serenade
4. Barsham and Jones: Trumpet Solos, 2 volumes (Chester)
5. Belchey (editor): Trumpet Tunes of the English Baroque (Schott) 6. Borst and Bogar (editors): Trumpet Music for Beginners (Edito Musica) 7. Dearnley: 8 Easy Pieces (Chester)
8. Dexter and De Smet: First Year Trumpeter, 2 volumes (E. Ashdown) 9. Handel: A Handel Solo Album, arr. Lethbridge (Oxford)
10.Haydn: Andante, arr. Voxman (Rubank)
11.Herring (Ed.): Easy Pieces for the Young Trumpeter (C. Fischer) 12.Lawton: Old English Trumpet Tunes, 2volumes (Oxford)
13.Lowden: Easy Play-Along olos (recording included) (Kendor) 14.Mozart: Concert Aria, arr. Voxman (Rubank)
15.Mozart: A Mozart Solo Album, arr. Lethbridge (Oxford) 16.Philips (Ed.): Classical & Romantic Album, volume 1 (Oxford) 17.Vandercook: Marigold (C. Fischer)
18.Vandercook: Morning Glory (C. Fischer) 19.Wallace and Miller: First Book of Solos
20.Wallace and Miller: Second Book of Solos (Faber) 21.Willner (editor): Classical Album
SOLOS – Medium to Medium-Difficult (Sophomores and Juniors) 1. Ancelin Six chants populaire de basse Bretagne (Leduc) 2. Anderson: Trumpeter’s Lullaby (Belwin-Mills)
3. Andre: Meou-Tan Yin (Leduc)
4. Bakaleinikov: Polonaise (Belwin-Mills) 5. Balay: Petite piece concertante (Belwin-Mills) 6. Barat: Andante et scherzo (A. Leduc)
7. Bozza: Badinage (A. Leduc)
8. Burgon: Brideshead Revisited (Chester) 9. Busser: Variations (Leduc)
10.Chance: Credo (Boosey & Hawkes)
11.J. Clarke: Trumpet Voluntary, arr. Voisin (International) 12.Corelli: Prelude & Minuet, arr. Powell (Southern) 13.Delmas: Choral et variations (Billaudot)
14.Fiocco: Arioso (Presser)
15.Fitgerald: English Suite (Presser) 16.Fitzgerald: Gaelic Suite (Presser)
17. Forbes: Classical & Romantic Album, vols. 2 & 3 (Oxford) 18.Gaubert: Cantabile et scherzetto (C. Fischer)
19.Getchell: Master Solos (H. Leonard) 20.Gibbons: Suite (Galaxy)
21.Handel: Aria con variazioni, arr. Fitzgerald (Belwin-Mills) 22.Handel: Sonata #3, arr. Powell (Southern)
23.Jacob: 4 Little Pieces (Emerson)
24.Ledger (editor): Warlike Music 1760 (Oxford)
25.Mills and Romm: Intermediate Trumpet Solos (with CD accompaniment) (H. Leonard) 26.Mortimer: Souvenir Album
27.Persichetti: The Hollow Men (Presser)
28.Purcell: Sonata, ed. Voisin – transposed. (International)
29.Richardson: 6 Trumpet Tunes and 6 More Trumpet Tunes (Boosey and Hawkes) 30.Telemann: Heroic Music, arr. Lawton (Oxford)
31.Wastall (editor): First Repetoir Pieces for Trumpet (Boosey and Hawkes) 32.Wiggins: Trumpeter’s Tune (Chester).
SOLOS - Difficult (Advanced juniors, seniors, graduate school auditions) 1. Albinoni: Concerto in D Major, arr Thilde (Bliiadot)
2. Albrechtsberger: Concertino (Brass Press) 3. Arban: Carnival of Venice (C. Fischer)
7. Artunian: Concert scherzo (Bim) 8. Artunian Concerto (International)
9. Bach: Concerto in ut majeur (with organ), trans. Tambyeff (Leduc) 10.Balay: Piece de Concours (Leduc)
11.Bellstedt: Napoli (Southern)
12.Bitsch: Quatre varioations sur un theme de Domenico Scarlatti (A. Leduc) 13.Blazhevich: Scherzo
14.Bozza: Rustiques (A. Leduc)
15.Charpentier: Marche et triomphe et second air de trompette (Leduc) 16.H. Clarke: Music of Herbert Clarke, 2 volumes (Warner Bros.) 17.J. Clarke: Suite in D Major (Musica Rara)
18.J. Clarke: (Trumpet Voluntary in D (International) 19.Corelli: Sonata in D (Musica Rara)
20.Davies: Sonata (Schott)
21.Enesco: Legend (International) 22.Fasch: Concerto (Sikorski)
23.D. Gabrielli: Sonata No. 2 in D and Sonata 4 in D, ed. Tarr (Musica Rara)
24.Haydn: Concerto in E-flat ed. Robbins-Landon and Tarr (Univeral Edition) or version with accompaniment (H. Leonard)
25.M. Haydn: Concerto in D (A. Benjamin)
26.Hertel: Concertos No. 1 (Brass Press) and 2 (Musica Rara) (both ed. Tarr) 27.Hindemith: Sonate: (Schott)
28.Honegger: Intrada (Salabert)
29.Hummel: Concerto, ed. Tarr (Universal), also version with accompaniment (Hal Leonard)
30.Husa: Concerto (Associated) 31.Ibert: Impromptu (A. Leduc) 32.Kennan: Sonata (Warner Bros.)
33.Molter: Concerto No. 1 in D (Musica Rara) 34.L. Mozart: Concerto in D, ed. Thilde (Billaudot) 35.Purcell: Sonata (Scott)
36.Telemann: Concerto in D (Selmer) 37.Tomasi: Concerto (A. Leduc)
38.Torelli: Concertos, Concertino in D, Sinfonias, and Sonatas: ed. Tarr or Neilson. (Musica Rara, International, & Siorski)
39.Wilder: Sonata, also Suite. (Margun)
FRENCH HORN:
SOLOS – Easy (Freshmen)
1. Anderson: Prelude & March in Canon (Boosey & Hawkes) 2. Bakaleinikoff: Canzona (Belwin)
3. Bakaleinikoff:Cavatina (Belwin) 4. Brightmore: 3 Easy Solos (Taurus)
5. Carse: 2 Easy Pieces
6. Franck: Panis Angelicus (Warner Bros)
7. Handel and Haydn: 8 Solos from “Messiah” and “The Creation,” arr. Lethbridge (oxford) 8. Jones (editor): First Solos for the Horn Player
9. Langrish (editor): 8 Easy Pieces (Oxford)
10.Marshall (editor): An Album for the Horn (Oxford)
11.Ohanian: Easy Horn Solos (with CD accompaniment) (H. Leonard) 12.Phillips (editor): Classical & Romantic Pieces (Oxford)
SOLOS – Medium to Medium-Difficult (Sophomores and Juniors)
1. Various composers: Contemporary French Recital Pieces for Horn and Piano (International)
2. Baker: Cantilena (Chester)
3. Beethoven: Little Rondo (Schirmer) 4. Butterworth: Romanza (Hinrichsen) 5. Campbell: Horn Solos, 2 vols. (Faber)
6. Carr (arranger): Great Orchestral Horn Solos for Horn (with piano accompaniment). (Mayher)
7. Chabrier: Larghetto (Salabert)
8. Dishinger: Masterworks Solos (Medici) 9. Dunhill: Cornucopia (Boosey & Hawkes)
10.Forbes (editor); Classical & Romantic Albums, vols. 2 & 3 (Oxford) 11.Francaix: Canon in Octave (international)
12.Glazounov: Reverie (Belwin-Mills)
13.Gliere: Intermezzo (arr. Anderer) (International) 14.James and DeHaan (editors): Horn Solos (Chester) 15.Johnson (editor): Intermediate Horn Book (Oxford) 16.Jones, Mason (editor): Solos for horn Player (Schirmer) 17.Marshall (editor): An Album for the Horn (Oxford) 18.Moore: Second Book of Horn Solos (Faber)
19.Mozart: Concerto No. 1 in D (various publishers)
20.Mozart: Concerto No. 3 in E-flat (Breitkopf & Hartel; Schirmer; various publishers) 21.Mozart: Concert Rondo (Breitkopf & Hartel; Schirmer; various publishers)
22.Ohanian: Intermediate Horn Solos (with CD accompaniment) (H. Leonard) 23.Ployhar (editor): Horn Solos, 2 vols. (Belwin Mils)
24.Read: Poem (C. Fischer)
25.Richardson (editor): 6 Horn Tunes (Boosey & Hawkes)
26.Saint-Saens: Master Solos (with CD accomaniment) (H. Leonard) 27.Stout (editor): Master Solos (with CD accompaniment) (H. Leonard) 28.Voxman (editor): Concert & Contest Collection (Rubank)
SOLOS - Difficult (Advanced juniors, seniors, graduate school auditions) 1. Adler: Sonata (R. King)
5. Beethoven: Sonata, ed. Tuckwell (Schirmer) 6. Bellini: Concerto (Billaudot)
7. Bitsch: Variations (A. Leduc) 8. Bozza: En foret (A. Leduc) 9. Bush: Autumn Poem (Schott)
10.Carr: Soliloquoy (Broadbent & Dunn)
11.Cherubini: 2 Sonatas, ed. Tuckwell (Schirmer) 12.Czermy: Andante & Polacca ((Doblinger) 13.Danzi: Concerto (International)
14.Danzi: Sonata (International)
15.Debussy: Sonata in D for French Horn and Pianoa arr. M. Abelson (Wunderhorn Press) 16.Delmas: Ballade Feerique ( Billaudot)
17.Dukas: Villanelle (International, Mason Jones) 18.Duvernoy: Concerto No. 3 (Ka We)
19.Gallay: Concerto (International) 20.Gliere: Concerto (International)
21.Haydn: Concerto No. 1 (Boosey & Hawkes) 22.Haydn: Concerto No. 2 (Boosey & Hawkes) 23.Hindemith: Concerto (Schott)
24.Hindemith: Sonata for Alto Horn (Schott) 25.Jacob: Concerto (Galaxy)
26.Kling: Concerto (Pizka) 27.Marais: Le Basque (Paxman)
28.L. Mozart: Concerto in D, ed. Tuckwell (Schirmer)
29.Mozart: Concerto No. 2 in E-flat (Breitkopf & Hartel, various publishers) 30.Mozart: Concerto No. 4 in E-flat (Breitkopf & Hartel, various publishers) 31.Musgrave: Music for Horn and Piano (Chester)
32.Nielsen: Canto Seriouso (Master Music Corp.) 33.Punto: Concerto No. 11 (Medici Music) 34.Rosetti: Concerto no. 1 (Ka We)
35.Rosetti: Concerto No. 2 (International)
36.Rossini: Prelude, Theme et Variations (Schirmer)
37.Saint-Saens: Concertpiece (“Morceau de concert”)(International) 38.F. Strauss: Concerto, ed. Tuckwell
39.R. Strauss: Concerto No. 1 (Schirmer and others) 40.R. Strauss: Concerto No. 2 (Boosey & Hawkes) 41.Telemann: Concerto in D, ed. Tuckwell (Schirmer) 42.Weber: Concertino, ed. Tuckwell (Schirmer) 43.Wilder First Sonata (CFG)
44.Wilder: Suite (Margun)
UNACCOMPANIED SOLOS - Difficult (Advanced juniors, seniors, graduate school auditions) 1. Adler: Canto XI (Ludwig)
2. Apostel: Sonatine (Universal) 3. Arnold: Fantasy: (Faber)
5. Barboteu: 5 pieces poetiques (Choudens) 6. Bozza: Graphismes (A. Leduc)
7. Davies: Sea Eagle (Chester) 8. Dodgson: Cor Leonis (Bim) 9. Halstead: Suite (dunster)
10.Kauder: 3 Melodies for Solo Horn (Seesaw) 11.Orval: Libre-Free-Frei (McCoy)
12.Persichetti: Parable (Presser)
13.Reynolds: 48 Etudes for French Horn (select with professors approval)(Schirmer) 14.Rosenthal: Partita for Unaccompanied Horn (Western International Music - WIM) 15.Plog: Postcards (BIM)
Voice
Semester IRequirements: A minimum for four (4) songs, including
One (1) 17th or 18th century Italian song One (1) 20th century song in English One (1) Spiritual
Semester II
Requirements: A minimum for four (4) songs, including
One (1) florid song One (1) sustained song
One (1) art song by an African-American
Semester III
Requirements: A minimum for four (4) songs, including
One (1) German Art song One (1) florid song One (1) sustained song One (1) spiritual
Vocal Requirements of the Sophomore Review Examination Semester IV Bachelor of Music
Requirements: A minimum for two (2) languages, including
English
One (1) simple oratorio, cantata or opera aria
One (1) florid
One (1) slow and sustained song
One (1) song from the Romantic literature One (1) African-American art song One (1) French melodie
Semester V
Requirements: One (1) French melodie
One (1) spiritual
One (1) Musical theater selection (pre 1960) One (1) song or Aria by Mozart
One (1) Song or Aria by Handel One (1) German Lied
Semester VI
Requirements: One (1) French melodie
One (1) African-American art song One (1) Musical theater selection (post 1960)
One (1) Classical or Romantic aria One (1) Baroque art song or aria One (1) German Lied
BACHELOR OF ARTS: Must present a 30 minute recital at the end of Semester VI. The
requirements for Semester VI must be included on the recital. The student will present a recital jury in lieu of a regular jury two weeks prior to the recital date.
Semester VII – Bachelor of Science – Music Education Requirements:
Must present a 45 minute) of music, not including an intermission) recital using the four major time periods: Baroque, Classical, Romantic and Contemporary, as well as the four major
languages: English, French, German and Italian. The student will present a recital jury in lieu of a regular jury two weeks prior to the recital date.
Bachelor of Arts – Voice Performance Requirements:
One (1) French melodie
One (1) African-American art song One (1) Spiritual
One (1) Musical theater selection (post 1960)
One (1) Classical or Romantic aria One (1) Baroque art song or aria One (1) German Lied
Semester VIII Music Education
(Semester VIII is considered the Student Teaching Semester) Requirements:
Must present a 60 minute) of music, not including an intermission) recital using the four major time periods: Baroque, Classical, Romantic and Contemporary, as well as the four major
Jury Requirements
Jury examinations are used to evaluate the purpose of music majors and minors in their applied instrument. The jury grade shall count as 30% of the applied teacher’s grade. A student must pass the jury with a grade of “C” or better to pass both the applied course and jury. Students taking applied lessons are required to perform a jury examination each semester of matriculation. They will perform before the entire music faculty. Failure to perform a jury will result in an automatic failing grade for the applied lesson grade.
In preparation for the jury, the student should practice daily and play for friends and acquaintances at different intervals, in order to reduce nervousness. The goal here is to practice jury materials again and again, focusing on the instruction that has been provided to the student.
Toward the end of the semester, the date for juries will be announced and your time will be posted.
The jury should be seen as a formal performance. All performers must dress appropriately for the occasion. Dress in professional office attire.
Students should be present at least 15 minutes before their scheduled jury times. Tardiness can result in loss of student’s jury time or failure of the jury. Each instructor requires literature, sight-reading, etudes, and scales on the jury as commensurate with level of study. These requirements will be made clear by the individual teacher. The instructors will demonstrate the proper stage deportment during lessons and rehearsals.
Department of Visual and Performing Arts
Lincoln University
Applied Instrumental Jury Evaluation
NAME_____________________________________Term: Fall Spr Sem 20__
LEVEL OF STUDY 107 108 207 208 2K1 2K2 or 2P1, 2S1, 2S2, 2S3, 2S4, 2S5, 2W1, 2W2, 2W3, 2W4, 2W5, 2W6
TOTAL SEMESTERS OF STUDY (including this semester)____________________ NUMBER OF PRACTICE HOURS COMPLETED THIS SEMESTER____________ Current Music Degree Program(s)____________ Number of credit hrs. 30 min. 1hour Indicate all that apply by placing the appropriate number(s) beside each song:
1-memorized 2-in process 3- learned w/note 4-performed publicly (recitals, convocation, outside venues) 5-begun last semester 6-begun this semester 7-performed in studio class
REPERTOIRE: TITLE COMPOSER 1.______________________________________________________________________ 2.______________________________________________________________________ 3_______________________________________________________________________ 4.______________________________________________________________________ 5.______________________________________________________________________ 6.______________________________________________________________________ 7.______________________________________________________________________ 8.______________________________________________________________________ 9.______________________________________________________________________
11._____________________________________________________________________
STUDENT SIGNATURE___________________________________________________ APPLIED TEACHER’S SIGNATURE________________________________________
POSSIBLE GRADES: POOR AVERAGE GOOD EXCELLENT
61-70 71-80 81-90 91-100 TONE QUALITY INTONATION TECHNICAL PROFICIENCY INTERPRETATION MUSICIANSHIP STAGE PRESENCE COMMENTS____________________________________________________________ ________________________________________________________________________ ________________________________________________________________________ ________________________________________________________________________ ________________________________________________________________________ ________________________________________________________________________ ________________________________________________________________________ JURY GRADE ______________
COMBINED JURY GRADES______________ APPLIED TEACHER’S GRADE___________
Department of Visual and Performing Arts
Lincoln University
Applied Voice Jury Evaluation
NAME_____________________________________Term: Fall Spr Sem 20__ LEVEL OF STUDY 109 110 2V1
TOTAL SEMESTERS OF STUDY (including this semester)____________________ NUMBER OF PRACTICE HOURS COMPLETED THIS SEMESTER____________ Current Music Degree Program(s)____________ Number of credit hrs. 30 min. 1hour Indicate all that apply by placing the appropriate number(s) beside each song:
1-memorized 2-in process 3- learned w/note 4-performed publicly (recitals, convocation, outside venues) 5-begun last semester 6-begun this semester 7-performed in studio class
REPERTOIRE: TITLE COMPOSER 1.______________________________________________________________________ 2.______________________________________________________________________ 3_______________________________________________________________________ 4.______________________________________________________________________ 5.______________________________________________________________________ 6.______________________________________________________________________ 7.______________________________________________________________________ 8.______________________________________________________________________ 9.______________________________________________________________________ 10._____________________________________________________________________
12._____________________________________________________________________ STUDENT SIGNATURE___________________________________________________ APPLIED TEACHER’S SIGNATURE________________________________________
POSSIBLE GRADES: POOR AVERAGE GOOD EXCELLENT
61-70 71-80 81-90 91-100 TONE QUALITY INTONATION TECHNICAL PROFICIENCY DICTION INTERPRETATION MUSICIANSHIP STAGE PRESENCE COMMENTS____________________________________________________________ ________________________________________________________________________ ________________________________________________________________________ ________________________________________________________________________ ________________________________________________________________________ ________________________________________________________________________ ________________________________________________________________________ JURY GRADE ______________
COMBINED JURY GRADES______________ APPLIED TEACHER’S GRADE___________
Hearing
A hearing is a prerequisite for the junior and senior recitals and replaces the jury examination. The hearing is held one month before the recital. The hearing is evaluated on a pass-fail basis and the student will be notified by the chair of the results of the hearing.
Two copies of all music to be performed must be submitted and the faculty will examine it at the hearing. It will be the responsibility of the student to distribute the copies of the music, a typed draft of the program including program notes, and
accompanying materials. The entire recital program shall be performed at the hearing for both junior and senior recitals.
Sophomore Review
Every candidate for both the Bachelor of Arts in Music and the Bachelor of Science in Music Education is required to complete an extended advisement session known as Sophomore Review. The purpose of the review is to:
a. Review student’s academic record to assess progress in meeting university requirements.
b. Insure that the student is on track to complete their degree in a timely fashion.
c. Highlight academic strengths and weaknesses.
d. Consider other academic experiences such as Study Abroad, honors projects, and internships.
e. Discuss career goals to assess that the student is selecting courses that will help meet individual goals.
f. Serve as a resume-building tool that communicates personal and academic strength.
Students are required to do a Sophomore Review at the completion of the 4th semester. They will have completed 62 credits.
To do a Sophomore Review the student will:
Write an essay of two pages in which her or she describes career goals for at least 10 years following graduation from college. This essay should be an example of the students best writing. In addition, the student must prepare a resume. (Contact Student Services for guidance regarding resume writing.)
Sophomore Review is usually performed at the same time and place of jury
Repertoire requirements vary with each instrument or voice (see repertoire list for your specific applied instrument). Additionally, one approved piece must be fully prepared without the assistance of a faculty member. The faculty will have the option of interviewing the student after the performance.
Voice students must prepare translations of any foreign language repertoire that will be performed. The performance portion of the review should last from 15-20 minutes. Vocalists and pianists must present a memorized recital.
Junior Recital Guidelines
All Bachelor of Arts and Bachelor of Science in Music Education must present
Junior Recitals during the junior year of matriculation.
The junior recital consists of 30-45 minutes of music with no intermission. Juniors can team with other junior recitalists to perform a joint recital. However, both must collaborate to produce the junior recital program.
The recital is evaluated on a pass-fail basis. Students will be notified in writing within 3 days of the recital results. Should a student fail the Junior Recital, the recital must be repeated in the next semester.
Piano and vocal students must memorize all music. Instrumentalists must memorize at least one composition.
All vocal and Instrumental student performers MUST SUBMIT scores to the accompanist not later than six (6) weeks prior to the recital.
Senior Recital Guidelines
The Senior Recital is an exit requirement and can serve as the academic enrichment requirement for Bachelor of Art music degree program. The senior recital shall consist of 1 hour with a ten-minute intermission.
All Bachelor of Arts in Music majors must present their recital during the senior year. The recital program must be performed as approved at the hearing. There may be no changes to the program as represented at the hearing.
The faculty in attendance will evaluate the Senior Recital.
Piano and vocal majors must memorize all music with exception of oratorio excerpts and chamber music. Instrumentalists must memorize one composition.
All vocal and Instrumental student performers MUST SUBMIT scores to the accompanist not later than six (6) weeks prior to the recital.
Bi-monthly Student Recitals
l. Applications for general recitals are due one (1) week before the general recital dates to the Department of Music office. The applications are available in the
Performing Arts Department office and must be signed by the applied teacher and the student prior to its submission.
2. The accompanist should receive a copy of the score to be performed a minimum of one week prior to the general recital. Rehearsal times should be worked out between the performer and accompanist. No last minute requests are permitted.
3. Student Recital dates will be scheduled at the beginning of each semester. Students are expected to plan with their teacher on which date(s) they will be performing. 4. The Student Recital should be considered a professional presentation. Appropriate stage presentation and deportment are required..
Piano Proficiency Exam
All music majors and minors who have completed four semesters of piano study are required to take the piano proficiency examination demonstrating keyboard skills and proficiency in the following areas. All components of this exam must be completed at the same time. If piano deficiencies are evident at the conclusion of the examination, a recommendation for further piano study may be made in order that the student prepare for an additional proficiency test to be completed before graduating from the music program.
SCALES: Be prepared to play major, natural and harmonic minor scales, hands together, in two octaves. For piano majors, four octaves are required.
CHORD PROGRESSIONS: Be prepared to play primary chord common-tone progressions in all major and minor keys. (I-IV-I-V7-I and i-iv-i-V7-i) For piano majors, also prepare I, vi, ii, V, I.
CHORD INVERSIONS: Be prepared to play any triad, major or minor, in root position, 1st inversion, and 2nd inversion. In addition, prepare to play any dominant seventh chord in root position, 1st, 2nd or 3rd inversion.
ARPEGGIOS: Be able to play major and minor arpeggios, thumb-under piano fingerings, hands together, in two octaves. For piano majors, four octaves are required as well as dominant 7th and diminished 7th arpeggios in four octaves, hands together.
SIGHT-READING/HARMONIZATION EXERCISE: The student will be required to sight-read and harmonize a simple melody, provided at the time of the exam with a few minutes of preparation time, using an accompaniment pattern of their choice and utilizing the I, IV,V, V7, I
progression (or a more complex chord progression, if the student wishes.)
ACCOMPANYING REQUIREMENT: All students must accompany a vocal or instrumental soloist performing repertoire assigned by the teacher. Arrangements must be made to rehearse with the soloist who will be performing well in advance of the exam date, and to insure that the soloist will be present during this portion of the exam.
SOLO REPERTOIRE REQUIREMENTS: Choose any two of the following patriotic songs
to perform. One must be memorized.
Dear Old Orange and Blue (Alma Mater) America
My Country ‘Tis of Thee Star-Spangled Banner
Battle Hymn of the Republic Lift Every Voice and Sing In addition, the student will perform two solo pieces that are assigned by the student’s piano instructor. The pieces should be representative of different periods of music history and contrasting styles. One of these solo pieces must be memorized, also.
Lincoln University
Department of Performing Arts
Piano Proficiency Evaluation Form
_____________________________ _________________ _________________
Name ID# Date of Exam
_______________________________ ________________________________
Semesters of Private Study (#) Applied Instructor
_______________________________ ________________________________
Semesters of Class Piano (#) University Classification
Music Major or Minor (circle one) Major (other than music):___________________
Scales:
(all major; natural and harmonic minor keys)Satisfactory Unsatisfactory
Major 2 octaves 4 octaves (Piano Majors) ________ _________
Minor 2 octaves 4 octaves “ “ ________ _________
Arpeggios
(all major and minor keys; in addition for piano majors, dominant and diminished7th chord arpeggios) Satisfactory Unsatisfactory
Major 2 octaves 4 octaves (Piano Majors) ________ _________
Minor 2 octaves 4 octaves “ “ ________ _________
Primary Chord Progressions
(all major and minor keys; I-IV-I-V7-I and i-iv-i-V7-i; in addition for piano majors, I, vi, ii, V,I) Satisfactory UnsatisfactoryMajor ________ __________
Minor ________ __________
Chord Inversions
(all major and minor triads, root, 1st and 2nd inversions; dominant 7th chords, root, 1st, 2nd, and 3rd inversions.) Satisfactory UnsatisfactoryMajor ________ __________
Sight-Reading/Harmonization:
Satisfactory UnsatisfactoryPlay and harmonize a provided melody _________ __________
Accompaniment:
Name of piece___________________________ _________ __________
Composer_______________________________ Instrument or voice accompanied?
Solo Repertoire:
Patriotic Songs and Hymns: (Student chooses two from the following. One must be memorized.)
Satisfactory Unsatisfactory
Dear Old Orange and Blue (Alma Mater) ________ __________
America ________ __________
My Country Tis of Thee ________ __________
Star Spangled Banner ________ __________
Battle Hymn of the Republic ________ __________
Lift Every Voice and Sing ________ __________
Other Repertoire (Two solo pieces assigned by instructor, representative of different periods of music history and contrasting styles. One of these solo pieces must be memorized).
Title and Composer: Satisfactory Unsatisfactory
______________________________________ ________ __________
______________________________________ ________ __________
Recommendation: Pass Further Study
Faculty Name:____________________________________________________________ Comments:
IV.
Conduct
Performing Arts Dress Code
The way you dress says much about you and your attitude. We, the faculty of Performing Arts believe that a dress code is the foundation for learning socially acceptable manners. Selecting attire appropriate to specific occasions and activities are critical factors in the total educational process.
Appropriate manners and dress insures that Lincoln students meet basic standards of achievement in the social, physical, and educational aspects which are very necessary for propelling students toward successful careers or aspirations.
The following are examples of appropriate dress for various occasions:
• Performers at student recitals, jury examinations, sophomore review, and hearings – *business or formal attire.
• Junior Recitals – business or formal attire
• Senior Recitals – formal attire • Concert Attendance – business attire
* Business Attire – (Men) - Suit and tie or sports jacket, pants, and tie (Women) – A dress or suit appropriate for the occasion Students will be denied performance privileges or denied admission if manner of dress is inappropriate.
Audience Etiquette
Attending concerts of classical music is a pleasant activity for all who love music. While learning about the music is a valuable tool, experiencing music first hand makes the experience come to life. Here are a few tips that will enhance your listening experience:
3. When the performer(s) appear on the stage, acknowledge the performer(s) with applause. Your applause says, “we are ready for you and we are glad you are here!”
4. Maintain silence once the music has begun.
5. In order to maintain a focus on the music, character etc., be sure not to whisper during the music or rustle candy or gum wrappers, crunch candy or any food item during the concert.
6. Try to keep coughing and sneezing to a minimum.
7. If the performer(s) is performing a work that has more than one movement, it is customary to applaud only when the full work is
completed. As a rule of thumb watches the performer; he/she will indicate when the real ending has come.
8. For text translation of music in foreign languages, please refer to the English translation often found in the back of the printed program before the song begins.
9. At the end of the piece of music, applause is great. The word “Bravo” may accompany the applause. By no means yell the artist’s name or make any other distracting remarks such as “go girl!” or “woo, woo!”
10. You may also stand and applaud if you think that the performance warrants a “Standing Ovation”. Such a response means that a truly exceptional performance has occurred and just applause does not seem to indicate your appreciation for the performer’s artistry, etc.
11. When you really want to hear more from the performer(s) exclaiming, “encore” (do again) is appropriate. (Not all performers are prepared to perform another or the same selection; however, they do consider a call for an encore a compliment from the audience.)
12. Finally, show your appreciation to the performer(s) by congratulating them on the performances.
Good listening is an art. When you attend a concert, get the most out of it. Once you have learned the tricks of the trade, you will find yourself having “favorite” concert experiences.
1 taken from Hampton University “Department of Music Handbook, 2005-2006”
Please turn off cell phone when entering recital.
Conduct Code
1. Each student and faculty member promises to strive for efficiency and job perfection whatever the responsibility. Further, these responsibilities will be handled in a humane and civil manner.
2. Each student and faculty member is assured equal and fair treatment on the adjudication of all matters. We must understand that academia presents myriad challenges with opposing points of view. We will respect each other’s point of
view while working towards a fair resolution. Thus, the Performing Arts Department will maintain an open and caring environment.
3. We aim to strive for personal, professional, and academic integrity. We
discourage all forms Of dishonesty, plagarism, deceit, and theft. If individuals are found lying, cheating, or stealing, they could possibly be dismissed from the university.
4. We support equal rights opportunities for all regardless of ethnic background, race, age, sex, religion, disability, socio-economic status, political, social, or sexual preferences. As an academic institution we are about learning and appreciating differences.
5. We the members of the Department Performing Arts will exhibit a high degree of maturity and self-respect for each other. We recognize and respect the authority and expertise of each professor and will seek remedies to disagreements via proper channels. That includes, in order, the Chair of the department, the Dean of Humanities, and finally Vice President of Academic Affairs.
6. Each member of the Lincoln University Department of Performing Arts will respect one another and visitors as if they were guests in our own homes. We will refrain from the use of vile, obscene, or abusive language or lewd
behavior. We will not possess weapons such as knives or firearms, nor be involved in the possession, use, or sale of illegal drugs on or off campus. A conviction will be subject to dismissal from the university.
