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Western Illinois University

SCHOOL OF MUSIC

FACULTY HANDBOOK

Academic Year 2014-2015

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SCHOOL OF MUSIC ORGANIZATIONAL STRUCTURE Academic Year 2014-2015

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

Recruitment Coordinator: Yvonne Oliver Office Support Specialist: Susan McCombs

Instrument Technician: Chad Walker Piano Technician : Anthony Lang Recital Hall Manager: Joanie Herbert

Administrative Academic/Program Areas Ensemble Areas Committees (cont.) Student Council

Undergraduate Studies/Advising Moisés Molina, Jeff Brown (UMCA) Graduate Studies/ Advising Brian Locke Performance/Public Relations Joanie Herbert Equipment/Inventory Chad Walker – Instrumental/General; Rick Kurasz – Concert Percussion; Kevin Nichols – Marching/Jazz Perc. Terry Solomonson – Sound Equipment Music Advisory Council Bart Shanklin- Director; Moisés Molina-Asst. Dir./U.Studies; Brian Locke- Grad.Studies/Hum.Hist.; Courtney Blankenship-Music Business; Anita Hardeman-Humanities/ History Christine Lapka- Music Education; Jennifer Jones- Music Therapy; Tammie Walker-Keyboard Area; Terry Chasteen- Voice/Choral Area; Bruce Briney- Winds/ Percussion Area; James Caldwell- Theory/ Composition; Michael Fansler-Ensembles; John Cooper- Jazz Studies

Professional Programs Music Education – Richard Cangro Christine Lapka Music Business – Courtney Blankenship Music Therapy – Jennifer Jones Eileen Garwood Jazz Studies John Cooper – Coordinator; Bruce Briney, Matt Hughes, Kevin Nichols, John Mindeman, Michael Stryker, George Turner, John Vana History/Humanities Brian Locke – Coordinator John McMurtery, Anita Hardeman, Rich Cangro, Douglas Huff, Matt Hughes, Julieta Mihai, Paul Paccione, Terry Solomonson, Istvan Szabo, George Turner Keyboard Tammie Walker – Coordinator; Jeff Brown, Michael Stryker, Anita Hardeman; Accompanying staff –Minjung Seo, Po-Chuan Chiang, and Liang yu Wang TBA– GA; TBA – GA; TBA– GA; TBA – GA; TBA – GA Orchestra/Strings Richard Hughey – Coordinator; Matt Hughes, Moisés Molina, Julieta Mihai, Istvan Szabo Theory/Composition James Caldwell – Coordinator; Michael Ericson, Paul Paccione, James Romig Voice/Choral Terry Chasteen – Coordinator; Matt Bean, Angela Hand, Brian Pierson, James Stegall, Mary Kay Karn, Lynn Thompson, Bart Shanklin Winds/Percussion Bruce Briney – Coordinator, John Cooper, Michael Ericson, Michael Fansler, Randall Faust, Eric Ginsberg, Douglas Huff, Rick Kurasz, John Mindeman, John McMurtery, Kevin Nichols, Terry Solomonson, Matthew Thomas,

Bands Michael Fansler-Director of Bands; Matthew Thomas-Assoc. Dir. of Bands; John Cooper-Jazz Studies TBA-GA; TBA –GA; Laura Reynolds-GA TBA-Jazz GA Vocal James Stegall- Director of Choirs; Brad Pierson- C.Choir Angela Hand- Opera; Lynn Thompson-Madrigals; TBA- GA; TBA-GA; TBA - GA Orchestral/Strings Richard Hughey-Director of Orchestras; TBA - GA Committees Recruitment Committee Bart Shanklin – Convener; Bruce Briney John Cooper Michael Fansler Randall Faust Richard Hughey Rick Kurasz Yvonne Oliver James Stegall Moises Molina COFAC Exec. Planning Comm. Representative TBA Graduate Studies Brian Locke – Chair; Richard Cangro, John Cooper, Michael Fansler, Eric Ginsberg, Richard Hughey, Paul Paccione, James Stegall, Tammie Walker, Bart Shanklin (ex-officio)

Undergraduate Studies Moisés Molina – Chair; Courtney Blankenship, Jeffrey Brown, Terry Chasteen, Anita Hardeman, Jennifer Jones, Christine Lapka, (Rich Cangro,F12) Jake Romig, Bart Shanklin (ex-officio) Auditions/Talent Grant Bart Shanklin – Convener (ex-officio); John Cooper, Michael Fansler, Richard Hughey, Rick Kurasz, Moisés Molina, James Stegall, Tammie Walker, Yvonne Oliver Two students TBA Music Personnel Committee Jeffrey Brown, Chair Bruce Briney James Caldwell Mike Ericson Mike Fansler Eric Ginsberg Paul Paccione Music Education Christine Lapka – Chair; (Rich Cangro, FL 12) Michael Fansler, Moises Molina, Terry Solomonson, James Stegall, Matthew Thomas, Adrianna Marshall Faculty Performance Michael Stryker – Convener; Randall Faust, Eric Ginsberg, Rick Kurasz, John McMurtery, Julieta Mihai, Grade Appeals/Academic Integrity Terry Solomonson – Convener; Matt Bean, Laura Brown, Mary Kay Karn, Istvan Szabo, John Vana, Two students TBA Convocation Kevin Nichols– Convener, Mary Kay Karn, John Mindeman, James Romig, Michael Stryker, John Vana, Student TBA Summer Music Institute Advisory Committee Bart Shanklin-Convener Jeff Brown (Fall 2014) John Cooper Mike Ericson Mike Fansler Richard Hughey Moises Molina

Music Education Representative TBA Music Fraternity/Sorority Representative TBA Music Therapy Representative TBA Music Business Representative TBA Choral/Vocal Area Representative TBA Bands Area Representative TBA Orchestra Area Representative TBA Jazz Area Representative TBA Keyboard Area Representative TBA

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John Vana

James Stegall Tammy Walker (Spring 2015) Accompanying Advisory Committee Bruce Briney Terry Chasteen Moises Molina Minjung Seo Tammy Walker

rev. 1/28/15 (sm)

TABLE OF CONTENTS

SCHOOL OF MUSIC ORGANIZATIONAL STRUCTURE – 2014-2015 1.0 – SCHOOL OF MUSIC MISSION AND GOALS STATEMENT

2.0 – ORGANIZATIONAL STRUCTURES AND FACULTY INFORMATION 2.1 Administrative Structure 2.2 Academic Area/Program Coordinators 2.3 Directors of Ensemble Areas 2.4 School of Music Committees 2.5 Faculty Status 2.6 Faculty Rank 2.7 Student Activities 2.8 Graduate Assistants 2.9 Recital Hall Jury Examination Rotation 2.10 Commencement Procession Rotation 2.11 Summer Teaching Rotations

3.0 – COMMUNICATION

3.1 Minutes of Faculty Meetings and Music Committees 3.2 Performance Calendar Updates 3.3 Campus Connection 3.4 Concert Publicity 3.5 Position Announcements

4.0 – MECHANICS 4.1 Keys 4.2 University Mail 4.3 Telephone Usage 4.4 Office Supplies 4.5 Faculty Schedule Forms 4.6 Budget Requests 4.7 Requesting Copying and Support Staff Services 4.8 Faculty Computers 4.9 The Front Office Area 4.10 Inventory

5.0 – POLICIES AND PROCEDURES

5.1 Classroom and Rehearsal Hall Use and Reservation 5.2 Graduate Assistants 5.3 Student Help 5.4 Recital/Concert Attendance Requirement 5.5 Recital Attendance Slip Collection

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5.6 Talent Grant/Tuition Waivers 5.7 Instrument Checkout and Loan

6.0 – TEACHING ASSIGNMENTS

6.1a Faculty Loads 6.1b Course Rosters, Tenth Day of Classes, and Faculty Loads 6.2 Office Hours 6.3 Ensemble Participation of Applied Students 6.4 Ordering Texts 6.5 Syllabi 6.6 Class Rolls 6.7 Early Warning Notice 6.8 Examinations 6.9 Jury Examinations 6.10 Student Evaluations of Teacher and Course 6.11 Grades 6.12 Independent Study/Pro seminars 6.13 Advising Procedures 6.14 Music Education Courses 6.15 Registration for Ensembles

7.0 – MUSIC LIBRARY 7.1 General 7.2 Reserve Policies 7.3 Circulation Policies 7.4 Audio Equipment Use 7.5 Materials Request 7.6 Library Instruction/Information Literacy

8.0 – ABSENCE/TRAVEL 8.1 Absence/Sick Leave 8.2 Travel/Request to Travel Form/University Vehicles

9.0 – RECRUITMENT/PROSPECTIVE STUDENTS

9.1 General Procedures for Recruitment and Acceptance of Prospective Students 9.1a Initial Contact 9.1b Follow-up 9.1c Auditions 9.1d Award Offers 9.1e Acceptance Status 9.1f Initial Registration 9.1g Follow-up of Probationary Students 9.2 Policy for Auditioning and Accepting Incoming Students 9.2a Other Auditions Issues 9.3 School of Music Talent Grants, Tuition Waivers, and Scholarships

10.0 – ASSESSMENT PROCEDURES FOR UNDERGRADUATE MAJORS 10.1 Faculty Responsibilities 10.2 Entry Level Assessment 10.3 Undergraduate Mid-Career Assessment Plan (UMCA) 10.4 Exit/Graduation Level Assessment 10.5 Alumni Assessment

11.0 – SCHEDULING CONCERTS AND OTHER EVENTS

11.1 Scheduling/Scheduling Conflicts 11.2 Scheduling Performances

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11.3 School of Music Calendar Scheduling Order 11.4 Student Recitals 11.5 Assignment of Accompanists 11.6 Procedures after Scheduling a Concert or Recital 11.7 Submission of Recordings to Music Library 11.8 School of Music Calendar Scheduling Order

12.0 – PRE-COLLEGE MUSIC PROGRAMS

12.1 Purpose 12.2 Duties of Directors 12.3 Operating Policy

13.0 – GRANTS

13.1 Outside Sources 13.2 Visiting Lecture Requests 13.3 WIU Foundation Faculty Development Grants 13.4 Professional Travel Grants 13.5 Faculty Research Grants 13.6 Summer Stipends 13.7 Performing Arts Society Grants

14.0 – PROFESSIONAL STATUS

14.1 Retention, Tenure, and Promotion 14.2 Department Procedures 14.3 Personnel Files

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

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1.0 – SCHOOL OF MUSIC MISSION AND GOALS STATEMENT

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

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

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

GOALS

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

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

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

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

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

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

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

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

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

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

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

2.0 – ORGANIZATIONAL STRUCTURES AND FACULTY INFORMATION 2014-2015

2.1 – ADMINISTRATIVE STRUCTURE

Bart Shanklin – Director, School of Music

Tammy Fretueg Office Administrator/Music Office Yvonne Oliver Recruitment Coordinator Karla White Office Administrator/Ensembles Joanie Herbert Faculty Assistant /Recital Hall Manager Susan McCombs Office Support Specialist/Music Office/Choral &

Orchestra

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

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

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

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

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

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

• Recruiting new faculty and non-academic personnel.

§ Appoint search committees

§ Receive recommendations from search committees

§ Make hiring decisions in consultation with the Dean of COFAC

§ Extend position offers and process all other hiring details

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

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

§ Make written recommendations on retention for PY1-PY5

• Recommending tenure and promotion.

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

§ Make written recommendations on promotion and/or tenure applications

• Preparing and administering the School of Music budget.

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§ Serve as primary fiscal agent on all general School of Music accounts (both appropriated monies and general foundation funds, including those administered by any faculty member)

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

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

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

§ Approve and coordinate all equipment purchases

§ Approve ensemble travel and monitor fiscal resources expended (including tours and any external performances) and allocate resources for course-related student travel or field trips

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

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

§ Assign faculty teaching and other duties

§ Assign classroom, studio, and rehearsal space

• Supervising the development of the School of Music curriculum.

§ Recommend/foster curriculum review, development, and revision

§ Sit ex-officio on both Undergraduate and Graduate Studies Committees

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

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

§ Award funds for travel/professional development activities

• Furnishing leadership for evaluation and improvement of instruction and academic advisement in the School of Music.

§ Supervise School of Music assessment activities

§ Prepare annual assessment reports

§ Monitor academic advisement through the School of Music Assistant Director

§ Appoint academic advisors

• Serving as a review officer with regard to student grievances.

• Teaching as appropriate and all other matters, which affect the general welfare of the School of Music.

§ Teaching assignments in area(s) of specialization

§ Coordination of new student auditions for entrance into the School of Music

§ Summer Freshman and Transfer Student Registration

§ Coordinate efforts for School of Music outreach and marketing initiatives with COFAC development officer

§ Edit/update undergraduate and graduate catalog copy

§ Edit/update School of Music handbooks for students and faculty

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§ Represent the School of Music at COFAC Chairs Meetings and all other appropriate university venues

§ Coordinate the School of Music Web Page in collaboration with the College Technology Specialist

• Convening School of Music meetings on a regular basis, but not less than once each semester.

Moisés Molina – Assistant to the Director of the School of Music

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

Duties and Responsibilities

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

curriculum • Coordinate the ongoing training, work, and assignments of School of Music

advisors • Conduct advising/information sessions during School of Music auditions • Process acceptance letters after School of Music auditions • Freshman and Transfer Registration sessions • New Student Orientation • Recommend undergraduate course offering patterns and scheduling • Adjust undergraduate studio and ensemble registrations and auditions

Courtney Blankenship Music Business

Jennifer Jones Music Therapy

Eileen Garwood Music Therapy

Michael Ericson Applied Instrumental and Jazz Studies, Bachelor of Arts/Music

Lynn Thompson Applied Voice

James Romig Applied Composition

Tammie Walker Applied Piano

Adrianna Marshall Music Teacher Certification

Yvonne Oliver SOAR

Moises Molina SOAR and New Transfer Students

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

Duties and Responsibilities

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

curriculum • Recommend graduate course offering patterns and scheduling • New Graduate Student Orientation

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• Coordinate all thesis assignments and comprehensive examinations • Coordinate the awarding of graduate assistantships and subsequent work

assignments • Chair School of Music Graduate Studies

Office and Professional Staff

Office Administrator/Music Office - Tammy Fretueg Principal responsibilities:

• Serve as Supervisor of the School of Music office, primary supervision for 4-6 student office assistants and secondary supervision for all School of Music student assistants;

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

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

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

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

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

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

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

current computer applications; • Assist the Director in reviewing/editing administrative documents, and class

scheduling material.

Recruitment Coordinator – Yvonne Oliver Principal responsibilities:

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

• Organize student auditions, including planning the audition dates, assignment of times for each student, audition locations, assignment of accompanists, advising sessions, coordinating the talent grant committee so that students can be heard, making adjustment to the schedule to accommodate student changes, being present on audition days to answer student and parent questions, organize special auditions for students unable to audition on scheduled days, create and maintain audition files for each prospective

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student, post results of the audition, placements and award recommendations in the files in preparation for Talent Grant Committee review;

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

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

Office Administrator/Ensembles – Karla White Principal responsibilities:

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

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

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

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

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

• Coordinate or assist with arrangements for ensembles performing off-campus; • Coordinate all arrangements for the Marching Band preseason camp; • Maintain complete and accurate records of fiscal transactions relating to

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

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

• Coordinate and supervise promotional and advertising material mailings; • Maintain database files of band and jazz area music libraries; • Assist in maintaining appointment calendar and providing secretarial support

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

Office Support Specialist/Music Office – Susan McCombs Principal Responsibilities:

• Maintains front office area, Acts as liaison between faculty, staff, students, and external units on campus. Screens calls for faculty and staff; Assists visitors, handles inquiries, provides information and determining course of action with concerns or problems;

• Assists Orchestra Director, in maintaining complete and accurate records of fiscal transactions relating to various orchestra accounts. Coordinate and manage all details of Orchestra area special events;

• Maintain database of email addresses for recruitment purposes; • Coordinate and types faculty evaluations, maintaining accuracy and

confidentiality. Processes forms such as key requests, service requests, inventory changes, vehicle requests, and orders office supplies as necessary;

• Supervise student assistants and assigns/reviews tasks where appropriate in the main music office;

• Maintain student records of all department majors. Assist with course permissions and student registration. Act as a liaison between students and faculty advisors;

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• Provide recital attendance slips for students and record each undergraduate student’s required recital attendance on a regular basis;

• Contact Vendors and other outside units as necessary to request repair or other service and to resolve discrepancies.

Instrument Technician – Chad Walker

Principal responsibilities:

• Supervise School of Music equipment inventory and submit property control reports;

• Supervise instrument checkout and repair; • Assist the Director with recommendations regarding security for, and repair or

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

Piano Tuner/Technician – Tony Lang

Principal responsibilities:

• Prepare concert pianos for regular performances of guest artists, faculty artists, and other public performances;

• Repair, regulate, tune, and maintain all acoustic pianos in the classrooms, studios, and practice rooms of the School of Music on a schedule to be established with the secretary to the director; and when needed, consult with the director;

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

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

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

Faculty Assistant/Recital Hall Manager – Joanie Herbert Principal responsibilities:

• Manage all details relating to the School of Music Performance Calendar, including:

1. Coordinate scheduling, oversee stage management, and supervise the production of programs for all on-campus performances;

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

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

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

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

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

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

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Staff Accompanist/Coordinator of Accompanying – Minjung Seo Principal responsibilities:

• Coordinate the accompanying services of the School of Music, which includes one other full-time accompanist and a part-time accompanist;

• Accompany various student and faculty performances.

Staff Accompanist – Po-Chuan Chiang Principal responsibilities:

• Accompany various student and faculty performances.

Staff Accompanist – Liang yu Wang Principal responsibilities:

• Accompany various student and faculty performances.

2.2 – ACADEMIC AREA/PROGRAM COORDINATORS

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

John Cooper Jazz Studies

Duties and Responsibilities

General

• Coordinate area meetings and communication

• Coordinate area proposals/requests/equipment needs/equipment repairs

• Represent the area/program on the Music Advisory Council and represent (or recommend an area/program representative) the area/program on the Undergraduate Studies Committee

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

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

• Coordinate assessment activities appropriate to each area/program

• Coordinate recruitment in collaboration with School of Music Recruitment Coordinator and Music faculty

Applied Areas

• Coordinate studio assignments where appropriate

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• Coordinate the scheduling of studio seminars and semester end juries

• Coordinate the selection of candidates for special scholarships/awards as appropriate to the area

• Coordinate and seek approval from the Director of the School of Music for student travel to external performance venues/competitions/festivals

• Coordinate master classes/performances of visiting artists

• Coordinate area specific recruitment efforts with the appropriate ensemble area director(s)

Academic Areas

• Coordinate the administration of general examinations (such as theory entrance, graduate entrance examinations, masters comprehensive exams)

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

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

• Advise the School of Music Director on staffing issues within the area

Professional Programs

• Coordinate student teaching assignments or internships

• Coordinate program specific advising of students and related curricular issues

2.3 – DIRECTORS OF ENSEMBLE AREAS

Richard Hughey Director of Orchestras

Michael Fansler Director of Bands

Matthew Thomas Associate Director of Bands

John Cooper Jazz Studies

Michael Stryker Associate Director of Jazz Studies

James Stegall Director of Choirs Duties and Responsibilities • Jointly coordinate the work of the secretary for university ensembles

• Coordinate special events within area of specialization

(Examples: Band Showcase, ACDA festivals, Jazz Festival, etc.)

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

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

o Ensure that Director approval for travel has been processed

o Monitor the number, frequency, length, and quality of tours/off-campus performances

• Serve as fiscal agent on all student government accounts related to area of specialization

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o Keep detailed records of receipts and expenditures and provide yearly report of account activity to the Director (prior year due each year on Sept. 1)

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

• Assist with School of Music public outreach

o Discover Western presentations and exhibits at state, regional, and national professional meetings

• Advice regarding allocation of talent grant/scholarship resources

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

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

• Supervise graduate assistants and student workers assigned to each ensemble area

• Supervise ensemble libraries within the area of specialization

2.4 – SCHOOL OF MUSIC COMMITTEES – Music Advisory CouncilBart Shanklin, Director

Moisés Molina, Asst. Director/Undergraduate Studies Brian Locke, Graduate Studies Anita Hardeman, History and Humanities Courtney Blankenship, Music Business Christine Lapka, Music Education Jennifer Jones, Music Therapy Tammie Walker, Keyboard Area (Jeff Brown F14) Terry Chasteen, Voice/Choral Area Bruce Briney, Winds/Percussion Area James Caldwell, Theory/Composition Michael Fansler, Ensembles John Cooper, Jazz Studies

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

Undergraduate Studies Moisés Molina, (Chair) Courtney Blankenship Jeff Brown Terry Chasteen Anita Hardeman Jennifer Jones

Christine Lapka James Romig Bart Shanklin (Ex-Officio) Music Personnel Committee Jeff Brown, Chair Bruce Briney James Caldwell Michael Ericson Michael Fansler Eric Ginsberg Paul Paccione Music Education Christine Lapka, Chair Richard Cangro Michael Fansler Adrianna Marshall Moisés Molina Brad Pierson Terry Solomonson James Stegall Matthew Thomas Faculty Performance Michael Stryker, Convener Randall Faust Eric Ginsberg Rick Kurasz John McMurtery Penny Shumate Grade Appeals/Academic Integrity Matt Bean, Convener

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Eileen Garwood Mary Kay Karn Istvan Szabo John Vana Two students TBA Auditions/Talent Grant Bart Shanklin, Convener (Ex-Officio) John Cooper, Jazz Ensembles Michael Fansler, Band Ensembles Richard Hughey, String Ensembles Penny Shumate, Voice/Opera Yvonne Oliver, Coordinator

Moisés Molina, Strings James Stegall, Choral Ensembles Tammie Walker, Keyboard Accompanying Two students TBA Convocation Kevin Nichols, Convener Mary Kay Karn John Mindeman James Romig Michael Stryker Istvan Szabo John Vana Student - TBA

Julieta Mihai Recruitment/Retention Committee Bart Shanklin, Convener Courtney Blankenship Bruce Briney John Cooper Michael Fansler Randall Faust Richard Hughey Rick Kurasz

Moisés Molina Yvonne Oliver Brad Pierson James Stegall Matt Thomas

2.5 – FACULTY STATUS –

Tenured Faculty (31) Dr. Matt Bean Dr. Bruce Briney Dr. Jeff Brown Dr. James Caldwell Dr. Richard Cangro Dr. John Cooper Mr. Michael Ericson

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Dr. Michael Fansler Dr. Randall Faust Mr. Eric Ginsberg Dr. Douglas Huff Dr. Richard Hughey Dr. Jennifer Jones Ms. Mary Kay Karn Dr. Richard Kurasz Dr. Christine Lapka Dr. Brian Locke Dr. Julieta Mihai Mr. John Mindeman Dr. Moises Molina Dr. Kevin Nichols Dr. Paul Paccione Dr. James Romig Dr. Bart Shanklin Dr. Terry Solomonson Dr. James Stegall Dr. Michael Stryker Dr. Istvan Szabo Mr. Lynn Thompson Mr. John Vana Dr. Tammie Walker

Non – Tenured Faculty (8) Probationary Year Dr. Matthew Thomas 5 Dr. Anita Hardeman 3 Dr. John McMurtery 3 Ms. Courtney Blankenship 2 Dr. Adrianna Marshall Dr. Eileen Garwood Dr. Penny Shumate Mr. Brad Pierson

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Instructors/Lecturers (3) Dr. Angela Hand Instructor (Voice) Mr. Matt Hughes Instructor (Double Bass) Mr. George Turner Lecturer (Guitar)

2.6 - Faculty Rank

Rank Year Granted

Rank Year Granted

Professor (17)

Associate Professor (13)

Richard Cangro 2014 Michael Ericson 1989 Terry Chasteen 2006 Paul Paccione 1993 John Mindeman 2007 James Caldwell 1995 Terry Solomonson 2007

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2.7 – STUDENT ACTIVITIES

Student Advisory Council

Graduate Representative Illinois Collegiate Music Educators Association President Mu Phi Epsilon President Music Business Association President Music and Miracles President Phi Mu Alpha President Wind Ensemble President Orchestra President Jazz Band President Choral Union President MTNA Student Chapter President School of Music Director (ex-officio)

Student Organization Advisors

American String Teachers Association – Moises Molina /Rich Cangro

James Stegall 1997 Kevin Nichols 2007 Randall Faust 1997 Jennifer Jones 2010 Bruce Briney 2002 Lynn Thompson 2010 Bart Shanklin 2005 Mary Kay Karn 2010 Matt Bean 2006 Julieta Mihai 2010 Eric Ginsberg 2006 Richard Hughey 2011 John Vana 2007 Brian Locke 2011 Douglas Huff 2007 Michael Stryker 2011 John Cooper 2008 Istvan Szabo 2011 Tammie Walker 2008 Jeff Brown 2013 Christine Lapka 2009 Mike Fansler 2012 James Romig 2012 Richard Kurasz 2013

Assistant Professor (9)

Matthew Thomas Anita Hardeman

2010 2012

John McMurtery 2012 Courtney Blankenship 2013 Adrianna Marshall Eileen Garwood Brad Pierson Penny Shumate

2013 2014 2014 2014

Lecturer/ Instructor (3)

Angela Hand 2011 Matthew Hughes 2011 George Turner 2011 Faculty Assistants (4)

Joanie Herbert 2010 Minjung Seo 2011 Liang-yu Wang Po-Chuan Chiang

2013 2015

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American Choral Directors Association – James Stegall Illinois Collegiate Music Educators Association - Richard Cangro Mu Phi Epsilon – Angela Hand/Mary Kay Karn Music & Miracles – Jennifer Jones Music Business Association – Courtney Blankenship Phi Mu Alpha Sinfonia – Terry Solomonson Music Teachers Association Collegiate Chapter – Tammie Walker

2.8 – GRADUATE ASSISTANTS: 2014 - 2015 Assignments Last  Name   First  Name   Major   TSA  (*TA)   Major  Inst  Anthony   Marius   Composition   History/Humanities   Piano  

Blaszka   Nina  (Kristina)   Mus  Ed   Orchestra   Oboe  Broadbent   Amy   Piano  Pedagogy   Accompanying   Piano  Clavell   Jose   Choral  Cond   Choral   Cond  Dossett   Keith   Inst  Conducting   Bands   Trumpet  Herrenbruck   Katie   IDT   Bands/Dance  Line   Horn  Kim   Yunhee   Piano  Perf   Accompanying   Piano  Kippola   Aaron   Jazz  Perf   Jazz  area   Saxophone  Malaimare   Ion-­‐Alexandru   Inst  Perf   JSQ   Violin  McChord   Byron   Jazz  Perf   Jazz  Worship  Service   Piano  McNeil   Ryan   Composition   Asst  outside  of  SOM   Voice/Piano  

Mejía-­‐Nuñez   Hermes   Inst  Perf   Group  Violin   Viola  

Mohlis   Eric   Choral  Cond   Choral   Cond  Nall   Matthew   Piano  Ped   Class  Piano   Piano  Plewa   Alissa   Choral  Cond   Choral   Voice  Racanti   Alberto   Inst  Perf   LBQ   Trumpet  Stombres   Adam   Comp   Theory   Saxophone  Tark   Hyerin   Piano  Perf   Accomp   Piano  Wang   Yihui   Piano  Perf   Trinity  Lutheran  Church   Piano  Weber   Colin   Inst  Cond   Bands   Saxophone  

Yeom   Heesun   Piano  Ped   Accomp  for  Mus  Theatre   Piano       2.9 – Recital Hall Jury Examination Rotation

Fall Semester 2014 Spring Semester 2015 Monday – Voice Monday - Woodwinds Tuesday – Voice Tuesday - Strings Wednesday – Piano Wednesday – Piano Fall Semester 2015 Spring Semester 2016 Monday – Strings Monday - Brass

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Tuesday – Woodwinds Tuesday - Voice Wednesday – Piano Wednesday – Piano Fall Semester 2016 Spring Semester 2017 Monday – Piano Monday – Voice Tuesday – Strings Tuesday – Voice Wednesday – Piano Wednesday - Piano

2.10 - COMMENCEMENT PROCESSION ROTATION

Dec 2014 Richard Hughey - Symphony Orchestra Michael Stryker Kitty Karn Jennifer Jones Brian Locke James Caldwell Istvan Szabo Matthew Bean James Romig Brad Pierson

May 2015

Matthew Thomas – Concert Band Jeff Brown Eileen Garwood John Cooper Randall Faust Rick Kurasz Chris Lapka Glen Solomonson James Stegall Terry Chasteen Tammie Walker

Dec 2015 Michael Fansler – Wind Ensemble Julieta Mihai Brad Pierson Lynn Thompson Paul Paccione John McMurtery Eric Ginsberg Courtney Blankenship Bruce Briney May 2016 Richard Hughey – Symphony Orchestra Michael Ericson Richard Cangro John Vana Kevin Nichols Jeff Brown Anita Hardeman Penny Shumate John Mindeman Doug Huff

2.11 – SUMMER TEACHING ROTATION

Name Last Assignment Ericson Vana New 1989 Briney New 1994 Ginsberg New 1996 L Thompson New 1996 Faust New 1997 Huff New 1998

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Lapka New 1998 Walker New 1998 Molina New 1999 Nichols New 1999 Bean New 2000 Chasteen New 2000 Fansler New 2001 Mindeman New 2001 Cooper New 2002 Kurasz New 2002 Romig New 2002 Mihai New 2004 Solomonson 2004 Caldwell 2009 Lapka 2005 Stryker New 2005 J.D. Jones 2008 Locke 2008 Hughey New 2007 Cangro 2009 Brown, Jeff New 2009 Thomas New 2010 Miller New 2010 Cangro 2010 Stegall 2010 Paccione 2010 Caldwell 2011 Cooper 2011 Cangro 2011 Thompson 2012 Cangro 2012 Cooper 2012 Blankenship 2013 Cangro 2013 Cooper 2013 Lapka 2013 Locke 2013 Nichols 2013 Paccione Blankenship Cangro Cooper Locke

2013 2014 2014 2014 2014

Faculty interested in summer teaching assignment must inform the Director, in writing, in accordance with the schedule distributed by the Provost.

3.0 – COMMUNICATION

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

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

3.2 – PERFORMANCE CALENDAR UPDATES

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

3.3 – CAMPUS CONNECTION

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

3.4 –CONCERT PUBLICITY

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

3.5 – POSITION ANNOUNCEMENTS

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

4.0 – MECHANICS

4.1 – KEYS

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

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

All classroom stereo systems are locked with a combination padlock. If you need to use the system in a particular room, ask Susan McCombs or Tammy Fretueg for the combination. Please do not reveal this combination indiscriminately. Every effort has been made to

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provide good quality, functioning systems in all classrooms, but each user must be security conscious. Please report any malfunctions to Terry Solomonson immediately.

4.2 – UNIVERSITY MAIL

Mail is picked up at approximately 11:30 a.m. Mail is also received at the same time and is distributed to faculty mailboxes located in Browne 122A, beside the Music Office, Browne 122. All mail to be sent off campus must be in pre-printed envelopes having the return address label/WIU logo; or you must use pre-printed labels with the return address/WIU logo included, provided by the School of Music. Hand-written return address information will not be accepted, and the envelopes will be returned to the School of Music by Document and Publication Services (DPS) at Physical Plant. Please use multiple-use brown envelopes for on-campus mail. The outgoing mailbag is located near the faculty mailboxes. The School of Music is billed for every piece of mail, so please do not use the School of Music mail code for personal purposes. Document and Publication Services (DPS), Physical Plant, will accept stamped personal mail.

4.3 – TELEPHONE USAGE

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

4.4 – OFFICE SUPPLIES

If you are in need of office supplies, let Susan McCombs know. Office supplies are only available for approved official School of Music purposes.

4.5 – FACULTY SCHEDULE FORMS

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

4.6 – BUDGET REQUESTS

Faculty may submit budget requests for travel reimbursement, instructional materials and/or other services. Forms for such requests are located in the mail room, bottom drawers of cabinet. All such requests should be submitted to Tammy Fretueg. In order to facilitate the processing of your request, please provide all information as requested on the particular

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form. Requests with missing information will be returned for revision. For further information on Travel Requests, see 8.0. Even if a budget request cannot be filled immediately, your requests will be kept on file for reviewing at the end of the fiscal year, at which time we may receive funding beyond our allocated School of Music budget, and be able to process the request.

4.7 – REQUESTING COPYING AND SUPPORT STAFF SERVICES

Photocopying: The photocopy machines in the office are for official School of Music use by faculty and staff. Personal photocopying is not allowed. Copies are to be made by faculty only. There are other copy machines available to students at various locations around campus.

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

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

4.8 – FACULTY COMPUTERS

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

4.9 – THE FRONT OFFICE AREA

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

4.10 – INVENTORY

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

5.0 – POLICIES AND PROCEDURES

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5.1 – CLASSROOM AND REHEARSAL HALL USE AND RESERVATION

Susan McCombs maintains a schedule of the classrooms assigned to the School of Music. If you wish to schedule a classroom, please see her (all requests to use the recital hall should go through Joanie Herbert). Do not assume that you can use any room that happens to be vacant at the moment.

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

If a student or student group needs a classroom for practice or a meeting during non-class hours, they must request that Susan McCombs in BR 122 secure a permit to have the room unlocked by the custodian or Public Safety. This must be done two to three days in advance, since requests are processed through the Academic Scheduling Office. When a room is used, return it to the set-up in which you found it, or feel free to improve upon that state. No food or drink is allowed in classrooms, practice rooms, or the recital hall. Candles are also prohibited.

5.2 – GRADUATE ASSISTANTS

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

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

5.3 – STUDENT HELP

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

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

5.4 - RECITAL/CONCERT ATTENDANCE REQUIREMENT

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All full time undergraduate music majors are automatically registered for MUSIC 100: RECITAL ATTENDANCE for 0 semester hours credit every semester. Attendance at a minimum of 10 recitals per semester is required of each full-time music student. Recital attendance credit is given for attendance at the following: 1) a minimum of 5 recitals which are either Faculty or Guest Recitals or Faculty Chamber Series Concerts; 2) any 5 student concerts in the School of Music calendar except performances in which the student participates as either performer, stage crew, tonemiester or usher. There will be no exceptions. Convocation attendance and performances external to the university will not count toward the required 10 recitals.

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

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

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

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

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

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

5.5 – TALENT GRANT/TUITION WAIVERS

The Student Handbook and the prospective student packets include information concerning Talent Grants and Tuition Waivers. ALL matters concerning talent grants and tuition waivers, including the assignment and/or dropping of students from their TG/TW responsibilities, are to be handled by the Auditions/Talent Grant Committee. A copy of the contract that all TG/TW recipients sign may be obtained from Yvonne Oliver in the Music Office (Browne 122).

5.6 – INSTRUMENT CHECKOUT AND LOAN

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

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

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

6.0 – TEACHING ASSIGNMENTS

6.1a – FACULTY LOADS

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

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

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

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

6.2 – OFFICE HOURS

Each faculty member must maintain a schedule of a minimum of four office hours per calendar week spread over at least three days OR a schedule of at least five office hours per calendar week spread over at least two days. Office hours must be posted and should be scheduled during different class hours each day for maximum student access. Please submit a copy of your class schedule, lessons, rehearsals, and office hours to Susan McCombs by the 10th day of class each semester.

6.3 – ENSEMBLE PARTICIPATION OF APPLIED STUDENTS

In order to maintain NASM accreditation, all students registered for applied study must also be registered for ensemble experience. (Keyboard students who do not qualify for participation in instrumental or choral ensembles are assigned chamber and/or accompanying

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experience under Mus 140). Each applied teacher is responsible for monitoring the ensemble participation of the students in that studio.

6.4 – ORDERING TEXTS

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

6.5 – SYLLABI

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

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

UNIVERSITY POLICY MANUAL

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

Course Syllabus Policy

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

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

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

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

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

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

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

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

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

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

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

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

Rights and Responsibilities web page.)

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

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

6.6 – CLASS ROSTERS

Class rosters are distributed to your mailbox as soon as they are received from the Registrar’s Office. Final class rosters are not received until the tenth day of classes. Check each edition of class rosters carefully to ascertain that all students attending are enrolled and vice versa. Please consult Moisés Molina if your class rosters include students that are not attending or do not include students that are attending. Any discrepancies should be reported as soon as you have checked your final “official” rosters. Do not assume that they will automatically be corrected. Your final grade sheet will be identical to your final class roster unless you report discrepancies. At that point it is too late to make appropriate adjustments.

Check applied rosters for the number of hours of credit to be sure all students are properly enrolled: • Performance majors: 4 SH • Mus Ed, Theory-Comp, Pedagogy Principals: 2 SH • Music Therapy, Music Business Principals: 2 SH • Secondary Applied Students (music majors taking a secondary lesson): 1 SH • Music Minors (entitled to two semesters of study): 1 SH • Non-major/minor Talent Grant Recipients (when load time available): 1 or 2 SH

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Again, any faculty member who wishes to be able to view class rosters or student identification information on the network should so notify the Director to be granted clearance.

6.7 – EARLY WARNING NOTICE

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

6.8 – EXAMINATIONS

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

6.9 – JURY EXAMINATIONS

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

6.10 – STUDENT EVALUATIONS OF TEACHER AND COURSE

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

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

6.11 – GRADES

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

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

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

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

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

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

6.12 – INDEPENDENT STUDY/PRO-SEMINARS

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

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

6.13 – ADVISING PROCEDURES

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

6.14 – MUSIC EDUCATION COURSES

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

• Music 130 – Intro to Music Education • Music 330 – Basic Conducting • Music 331 – Choral Conducting • Music 332 – Instrumental Conducting • Music 333 – Music Teaching in the Elementary/Middle School

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• Music 334 – Music for the Exceptional Child • Music 335 – Choral Methods • Music 336 – Instrumental Methods • Educ 439 – Music Teaching in the Secondary School

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

6.15 – REGISTRATION FOR ENSEMBLES

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

7.0 – MUSIC LIBRARY 7.1 – GENERAL

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

7.2 – RESERVE POLICIES

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

Faculty wishing reserve materials to be used in some way other than traditional in-house use (such as overnight, 2-days, etc.) should indicate those instructions. Unless such instructions are included, it will be assumed that these materials are to be used only in the library.

No faculty member may remove from the Music Library any item placed on reserve by another faculty member without written consent from the faculty member who placed the item on reserve. All reserve items will be taken off reserve at the end of each semester unless a faculty member specifically requests otherwise. Faculty members wishing to remove personal copies from their reserves should coordinate this with the Music Library, so that the item can

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be properly removed from the class reserve. Faculty are expected to provide the Music Library with a current reserve list each semester they wish to have materials placed on reserve. It is not the responsibility of the Music Library to maintain and up-to-date file of reserve lists from previous years or to place materials on reserve without a specific request from a faculty member.

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

7.3 – CIRCULATION POLICIES

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

LOAN PERIODS: Books and Scores (M,ML,MT, except for exceptions noted below) – Students, staff, area residents – 4 weeks Graduate Students – 8 weeks Faculty – 16 weeks Scores Classed as M3 (Collected editions) – Students, staff, area residents – no circulation Faculty and Music & Theatre Graduate Students – 1 week Sound Recordings (CDs, CD-ROMs, LPs, Cassettes) Students – 3 days Faculty and graduate students – 4 weeks Area residents & staff – 2 weeks Video Recordings (DVDs, VHSs) All patrons – 2 weeks MTE’s (Music Education series books)

Students, staff, area residents, Faculty and Music & Theatre graduate students – 1 week

Overnight Reserve

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

Permanent Reserve Students, staff, area residents – no circulation Faculty and graduate students – 1 week Note: Restricted Reference and Reference Books are in-house use only. For Research and teaching purposes, Periodicals may be checked out by faculty for 2 days.

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

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RECALLS, HOLDS AND SEARCHES:

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

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

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

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

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

7.4 – AUDIO EQUIPMENT USE

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

7.5 – MATERIALS REQUESTS

Books, scores and sound recordings New materials can be requested at any time, but only those ordered in the fall (between August and December) will be received during the current year. Requests may be submitted through e-mail, by marking a publisher’s catalog, a legibly produced list, etc. Although faculty requests are a high priority for purchase, those which do not conform to the Music Library’s collection development policy may not be ordered. Periodical titles In the current financial climate, the library has instituted a quid-pro-quo policy for new periodical requests; to order a new periodical title, one of an equivalent cost must be cancelled.

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

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

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7.6 – LIBRARY INSTRUCTION/INFORMATION LITERACY

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

8.0 – ABSENCE/TRAVEL 8.1 – ABSENCE (SICK LEAVE, PERSONAL LEAVE, CONFERENCE ATTENDANCE)

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

All sick days and personal days must be reported to the Director and the Music Office staff at the time of the occurrence regardless of provisions made by the faculty member for making up lessons, rehearsals, classes or other assigned duties. Up to five days of sick leave per year may be used for personal days. Please see Article 27.8 of the Agreement 2010-2015 for additional information on personal leave. Additional details on sick leave (Article 27.7), can be found in the UPI 2010-2015 Agreement, and the WIU faculty handbook.

8.2 – TRAVEL/REQUEST TO TRAVEL FORM/UNIVERSITY VEHICLES

If request is made well in advance and approved, state vehicles are usually available through the University’s Transportation Services. A requisition will be typed online and submitted to that department, using information from the completed travel request. All mileage for state vehicle use is billed to the School of Music at $.50 per mile for cars with a daily minimum of $15.00 and 30 miles and a weekly minimum of $70.00 for 140 miles; $.55 per mile for mini-vans with a daily minimum of $15.00 for 27 miles and weekly minimum of $80.00 for 145 miles. Charge for 15 passenger vans is $.80 per mile with a daily minimum of $25.00 and 31 miles and a weekly minimum of $125.00 or 156 miles. Extended parking is $10 per day, excluding days to and from the airport, train station, etc. Rates include fuel and emergency repairs. The reimbursement for use of a personal vehicle must be paid at the state-mandated rate of $.56 per mile. There is a “No Show/No Cancellation Fee” of $25 for all 12/15 passenger and cargo vans that are not used for the requested trip, and are not canceled 48 hours or two full business days (if the trip is after a weekend or a holiday) before the pick up time on the trip sheet. There is a $25 extraordinary cleaning fee. Please be aware of these extra charges and take the necessary steps required to keep costs down. In addition, an updated Employee's Certification - Privately Owned Vehicles form is required for employees who operate a privately owned vehicle for State Business on or after September 1, 2009. Please click on the following link http://www.wiu.edu/vpas/business_services/forms/emplcert14.pdf for the

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updated form (Using university vehicles ordinarily is more economical than payment of reimbursement for use of a personal vehicle.)

Travel requests are available in the Music Office. Fill out the form and submit your request for absence. Requests for faculty travel funding now goes to the Provost. Requests for travel professional conference registration fee funding goes to the Dean. All travel is funded from the fiscal year in which it occurs. University Vehicles: After approval, you will receive a copy of the request IF THERE IS A CAR AVAILABLE. When checking out the vehicle, present the copy of the T-1 form to the garage personnel at the Physical Plant. If departing after hours, pick up vehicle keys before the garage’s closing hours – 5 p.m. on Weekdays, 2 p.m. on Saturdays. The garage is closed on all Sundays and holidays. Vehicles are never to be taken the day before and parked overnight anywhere except the University Garage. When returning after hours, place the keys along with the form (be sure to record your mileage) in the slot in the garage door. Travel Receipts: Upon your return, please bring any requested receipts to the departmental secretary who will initiate a travel voucher. ORIGINAL RECEIPTS ARE REQUIRED FOR: (a) COMMERCIAL TRANSPORTATION; (b) HOTEL EXPENSES; (c) ANY ITEM $5.00 OR MORE. (If you are sharing a room with another person, and you wish to be reimbursed, you must ask the hotel desk to prepare separate bills for each person splitting the total bill.) After you have signed the travel voucher, it will be sent to the Business Office for payment. Processing sometimes takes 10 days to 2 weeks and payment will be deposited electronically into your bank account in the same manner as your monthly salary. All travel vouchers must be completed within 30 days of the time of travel or they will become void in the Business Office and your request for reimbursement of expenses will not be honored.

9.0 – RECRUITMENT/PROSPECTIVE STUDENTS 9.1 – GENERAL PROCEDURES FOR RECRUITMENT AND ACCEPTANCE OF

PROSPECTIVE STUDENTS

9.1a – INITIAL CONTACTS

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

9.1b – FOLLOW UP

Appropriate individual faculty members should do follow-up contact with the student. Each faculty member may compose a standard follow-up letter and designate enclosures, which Yvonne Oliver will prepare for your signature upon your

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request for same. These should all be done through her so one source is aware of what has been done. If you wish to do your own individualized response letters please furnish Yvonne Oliver with a copy for the prospective student’s computer file each time you correspond. Please copy Yvonne on all email correspondence.

9.1c – AUDITIONS

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

9.1d – AWARD LETTERS

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

9.1e – ACCEPTANCE STATUS

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

• Full Acceptance as a Music Major: You are performing on the level

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

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

• Probationary Acceptance as a Music Major or Minor: The performance

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

• Not Accepted as a Music Major or Minor: Your audition does not indicate

you have sufficient background in music to be successful in college level

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study at this time. If you feel you simply had an “off” day, and could perform much better at another time, you may request a second audition. We suggest you prepare for future auditions through private lesson study with the finest studio teacher available in your area. We hope you will still plan to attend WIU and will be able to find a major that will better fit your needs. If so, you are encouraged to pursue your interest in music through participation in one or more of our music ensembles which are open to all university students.

9.1f – INITIAL REGISTRATION

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

9.1g – FOLLOW-UP OF PROBATIONARY STUDENTS

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

9.2 - POLICY FOR AUDITIONING AND ACCEPTING INCOMING STUDENTS

All students who wish to declare a music major, general minor, or a jazz studies minor ust formally audition before the Auditions Committee (or a reasonable proportion thereof)

before registering for music minor/major classes.

Music Audition dates are listed below. All School of Music Faculty members should be available on these days and contribute to a successful “open house” atmosphere. Please plan to suspend regularly scheduled classes, lessons, and rehearsals on Monday, February 1, 2014 (President’s Day).

Auditions for students wishing to enter January 2015 or August 2015 as well as on-campus students who decide they would like to declare a music major or minor and desire consideration for Talent Grant or other awards may audition on these scheduled dates:

• December 6, 2014 (Saturday) • January 17, 2015 (Saturday) Chicago Area (TBA) • February 7, 2015 (Saturday) • February 16, 2015 (Monday) President’s Day

Every effort should be made to advise students to audition on one of the above dates. It is to their advantage when the full committee is on hand. Students wishing to enter January 2015, as well as on-campus students who decide they would like to declare the music major or minor the following semester, should audition on December 6, 2014 or by special arrangement.

9.2a – OTHER AUDITIONS ISSUES

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

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

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

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

SCHOLARSHIPS The School of Music grants a limited number of awards to qualified students who complete an audition and meet the requirements for these awards. Awards are determined by the School of Music Auditions/Talent Grant Committee and are decided in the Spring semester for the following Fall term. All recipients of talent grants and tuition waivers are expected to participate in School of Music performing ensembles. The School of Music Auditions/Talent Grant Committee, in conjunction with the Ensemble Directors, will determine (and subsequently monitor) appropriate participation, considering the particular balance of grants and tuition waivers received by each student. In addition to the scholarships and talent grants offered by the Auditions/Talent Grant Committee, the following scholarships are awarded by selected faculty members who decide the recipients: NAMM Award – Courtney Blankenship The Most Versatile Percussionist – Percussion faculty The Ann Collins Jazz Piano Scholarship – Jazz Faculty The Jane Lanier Synovitz Memorial Scholarship – Voice Faculty The Bruce Gardner Singer Scholarship – Voice Faculty

The Scholarships are:

THE BLYLER AWARD FOR MUSICAL EXCELLENCE Awarded to a student who has been in the School of Music two years, has an overall grade point average of 2.5 or better, a 3.0 grade point average in music subjects, and who displays a professional attitude toward music as evidenced by participation in performance groups and service to the School of Music. The award is for $300 to be paid in two installments of $150 each at the beginning of each term. The recipient will

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be selected by the School of Music Faculty and Talent Grand Committee. The actual award money will be given to the recipient when he/she returns to campus in the fall.

THE LAURA BEU MUSIC SCHOLARSHIP

The recipient must have at least a 3.0 cumulative grade point average, be a sophomore, junior or senior who has attended WIU at least two consecutive semesters as a full-time student, and must have at least one full-time semester remaining. The award is for $250 to be paid in two installments of $125 each at the beginning of each semester. Selection is made by the School of Music Faculty under the direction of the School of Music Director.

THE WALTER H. ELLER MUSIC SCHOLARSHIP

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

THE DR. A. OREN GOULD SCHOLARSHIP

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

THE CLIFFORD A. AND ROSA JULSTROM SCHOLARSHIP

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

THE ROSCOE G. LINDER BAND SCHOLARSHIP

Applicants for this scholarship should be at least a second year (or above) band member in good standing and should be able to demonstrate dependability, leadership qualities and service to the School of Music. The persons selected should maintain at least a 3.0 average or better while a full-time student at WIU, show potential for growth as a private instructor, band director, performer, or composer, and show some achievement and excellence in some area of instrumental music. Two awards of $600 each are given each year, paid in two installments. Selection is to be made by the Scholarship Committee. If any of the above criteria cannot be met (exclusive of the grade point average requirement), the selection committee is empowered to use its best judgment in making reasonable student selections.

THE JAMES MAGSIG COLLABORATIVE PIANO SCHOLARSHIP

The recipient(s) for this scholarship must be a student accompanist in the School of Music, be a Music major or minor in good academic standing, and demonstrate a record

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of outstanding work as an accompanist in either the School of Music or for entering students, in the student’s prior experience. Financial need can be a consideration. The award is $500 annually, payable each year in two installments. Selection is to be made by the School of Music Auditions/Talent Grant Committee with input from the Accompanying Coordinator in consultation with the School of Music Faculty. Newly entering students will be evaluated by the Music Auditions/Talent Grant Committee. This award may be renewed annually if the recipient continues to meet the award criteria.

THE LILLIAN RUTH ROBERTSON SCHOLARSHIP IN PIANO The recipient(s) for this scholarship must be an incoming freshman female Music major whose primary instrument is the piano. The award is based on performance as determined by audition, with academic record taken into consideration. Selection is to be made by the Talent Grant Committee with input from the keyboard faculty. The award is $1000 per year, to be paid in two installments. It can be renewed as determined by the Talent Grant Committee and Keyboard faculty.

THE LILLIAN RUTH ROBERTSON SCHOLARSHIP IN VOICE

The recipient(s) for this scholarship must be an incoming freshman female Music major. Selection is to be made by the Talent Grant Committee with input from the vocal faculty. The award is up to $1000 annually, payable in two installments. The award is renewable subject to the decision of the Talent Grant Committee if the student continues to demonstrate merit and potential.

THE LILLIAN RUTH ROBERTSON SCHOLARSHIP IN STRINGS

The recipient(s) for this scholarship must plan on or be a Music major, and plan on participating in ensembles. Selection is to be made by the Talent Grant Committee, with input from the string faculty. The award is up to $2000 annually, payable in two installments. The award may be renewable up to four years if the student continues to demonstrate merit and potential.

THE BESSIE MYERS MUSIC SCHOLARSHIP

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

THE HUGO MAGLIOCCO TROMBONE SCHOLARSHIP

Upon retirement after a 36-year career at Western Illinois University, Western’s first trombone instructor, Dr. Hugo Magliocco, has established a trombone scholarship through the WIU Foundation. The recipient of this award must be an international student (i.e. from outside the USA) or an African-American or a Hispanic American student. The recipient must be entering the School of Music for the first time as a freshman or transfer student and must have auditioned for, won and continue to maintain a talent grant award through the School of Music. This scholarship will be used to supplement the talent grand award to cover tuition and fees. If the student is granted a full tuition award from the School of Music, this award will consist of an annual stipend as determined by the WIU Foundation based on resources available in

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the scholarship account. The scholarship is renewable for up to eight continuous semesters as long as the student remains a full-time music major and continues to study trombone each semester in residency. The student must maintain a GPA of 3.0 in music (excluding all ensemble grades), and a 2.5 GPA outside of music each semester.

THE JANE LANIER SYNOVITZ MEMORIAL SCHOLARSHIP

The Recipient of this award must be a junior woman with a grade point average of 2.8 or above, and outstanding vocalist, and a major in music. Selection is made by the Talent Grant Committee with input from the Vocal Music Coordinator. This is a cash award in the amount of $100.

THE WANNINGER FOUNDATION SCHOLARSHIP

The Wanninger Foundation was established in 1984 by the children of Forrest and Mary Wanninger in recognition of their parents’ long dedication to the teaching of music and English. Scholarships are available to students whose educational careers were interrupted for at least two years and now have decided to continue their education. Candidates may be pursuing a baccalaureate or a graduate degree and must be a full-time student pursuing a degree in either education or liberal arts in education or performance with vocal music emphasis. Undergraduate candidates must maintain at least a 2.5 average and a graduate candidate a 3.0 average. The award is $500 per year, payable in two installments. Selection is to be made by the Talent Grant Committee. The award is renewable for one year if the minimum grade point average is maintained, with recommendation from the Talent Grant Committee.

WIU VOCAL JAZZ

Three awards of $200 each are given to a male vocalist, a female vocalist, and an instrumentalist for outstanding participation in Vocal Jazz Ensemble.

NAMM AWARD

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

TOM WOOD CLARINET SCHOLARSHIP

Applicants for this scholarship must be an undergraduate or graduate Music major with clarinet as their primary instrument, must demonstrate significant musical talent, and demonstrate financial need. The award is $300 per year, payable in two installments. Selection is made by the Talent Grant Committee. Continued growth and participation in the School of Music as a major will be part of the criteria for renewability.

THE RUBY MILLER RAGLIN MEMORIAL SCHOLARSHIP IN MUSIC

The Ruby Miller Raglin Memorial Scholarship in Music was established in 1999 by the Orpha Raglin Welke Estate to provide scholarship assistance to outstanding students in music performance. Applicants for this scholarship must be a music major, participate in performance groups, demonstrate potential to become a professional musician, demonstrate dependability, leadership, and service to the School of Music, and demonstrate outstanding musicianship. More than one recipient may be selected and the award amounts can vary. Selection will be made by the Talent Grant/Auditions Committee. Evidence of outstanding potential as a musician and co-curricular activities will be considered in awarding the scholarship. Financial need will not be

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one of the primary considerations in making the selection. The scholarship can be renewed if the recipient remains a music major and continues to demonstrate outstanding musicianship.

THE BRUCE GARDNER SINGER SCHOLARSHIP

The intent of this scholarship is to encourage the attraction, retention and development of outstanding singers in the WIU School of Music. It is intended not only to attract vocal musicians, but also to encourage their continued vocal, musical and scholastic growth. It is further intended as an incentive for each of its recipients to strive to achieve the highest possible level of professional vocal musicianship. This scholarship was established in 2001 by associate professor of music emeritus R. Bruce Gardner and his wife Lila L. Gardner of Macomb, Illinois. Applicants for this scholarship must be an undergraduate or graduate Music major whose primary performing instrument is voice, and must demonstrate a combination of performance quality and perceived vocal potential. (If a choice must be made from among vocal and musical equals, preference is to be given to the tenor voice if applicable.) The award is $1,000 per year, payable each year in two installments. Eligibility is determined by audition for the studio voice faculty. Upon the discretion of the studio voice faculty, this may be renewed if the student remains a vocal Music major and maintains at least a 3.0 grade point average.

THE MOST VERSATILE PERCUSSIONIST

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

THE SHANKLIN SCHOLARSHIP

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

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

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THE RHODA BUTLER COLLABORATIVE PIANO SCHOLARSHIP The Butler Scholarship is open to all student accompanists in the School of Music who have demonstrated a record of active and outstanding work as an accompanist in either the WIU School of Music, or for entering students, in the student’s prior experience. The recipient must be a Music major or minor in good standing. The amount of award is contingent upon available funding. Financial need of the recipient may be a consideration.

THE DALE HOPPER JAZZ STUDIES MEMORIAL SCHOLARSHIP This scholarship was established as a memorial to honor the School of Music’s late jazz professor emeritus, Dale F. Hopper of Macomb, Illinois. Applicants should be a Music major and demonstrate significant musical talent; must specifically exhibit interest and talent in jazz performance and excellent service to WIU jazz ensembles. There is an award of $100 annually. Selection is to be made by the Talent Grant Committee in consultation with the jazz faculty.

THE VIOLET H. POPPLETON SCHOLARSHIP The Violet H. Poppleton scholarship for a female vocal music major was established in 2004 by her children, Terry Poppleton, Nancy Krey (WIU 1970, 1980), and Jill Zeitlin through the WIU Foundation. Mrs. Poppleton’s greatest love was music, and it is the family’s hope that this award will help a female voice major in the School of Music, not only to cultivate her musical talents, but also to foster the same passion for music which Vi Poppleton enjoyed throughout her lifetime. Upon full funding of the endowment, a $1000 award will be made annually, payable in two installments. The award will be increased as additional earnings from the endowment become available. The WIU Foundation will administer the scholarship fund and facilitate the selection of recipients. Selection will be made by the voice faculty in the School of Music. David and Susan Reem Scholarships for Excellence These annual scholarships reward undergraduate musical excellence in the areas of voice (baritone), horn and strings. The Reems were motivated to establish these scholarships by the extremely positive experience their sons, John and Dan, enjoyed while students at WIU. Moreover, the Reem scholarships reflect the esteem in which they hold the WIU School of Music in general and faculty members James Stegall, Randall Faust, and Richard Hughey in particular. Recipients must be currently enrolled, full-time WIU junior or rising junior pursuing a bachelors degree in music or a full-time transfer student entering WIU as a junior or senior and pursuing a bachelors degree in music. Recipients must have a minimum GPA of 3.0 and participate in the ensemble program. These awards are for $1,000, to be distributed as a $500 award in the fall semester and a $500 award in the spring semester. Selection will be made by a faculty committee convened by the Director of the School of Music. The Gene Michael Goad Scholarship This scholarship was established by Sue and Brett Goad in memory of their son, Gene. Gene was born in Macomb, Illinois and returned there after high school to complete his Associate Degree from Spoon River College. Brett Goad, Gene’s father, graduated from WIU with both his bachelor and master’s degrees in choral music. Music played a big part in Gene’s life and this annual award was established to help a WIU junior reach their career goal to have choral music as their vocation. Recipients must be currently enrolled full time junior status pursuing a bachelor degree in choral music. Recipients must have a minimum GPA of 2.5 overall with a GPA of 3.0 or higher in music, and must participate in at least two WIU School of Music ensembles. This scholarship provides for one annual $1,500 award.

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10.0 – ASSESSMENT PROCEDURES FOR UNDERGRADUATE MAJORS 10.1 – FACULTY RESPONSIBILITIES

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

10.2 – ENTRY LEVEL ASSESSMENT

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

1. Performance audition 2. Sight-reading on principal instrument

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

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

10.3 – UNDERGRADUATE MID-CAREER ASSESSMENT PLAN (UMCA)

Rationale:

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

The Western Illinois University Student Learning Assessment Committee charges each department to continually improve undergraduate and graduate education through

1) Cyclical processes of identifying learning outcomes, 2) Assessing student achievement of those outcomes, 3) Analyzing results of assessment, and 4) Using results of assessment to enhance curriculum and the teaching-learning process.

Suggested methods of measuring undergraduate student learning include a broad range of quantitative and qualitative measures such as regular classroom activities, standardized tests, locally developed instruments, student focus groups, attitudinal and survey data. The university assessment plan includes a call for departmental reports submitted annually to the Office of the Provost through the college dean.

The School of Music responds to these charges by

1) Continuously reviewing and revising qualitative and quantitative measures such as regular classroom activities and grades, entrance audition standards, applied jury grades, course prerequisites and co requisites, surveys, etc.

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

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2007. Method:

The School of Music Director appoints an Undergraduate Assessment Coordinator to administrate undergraduate mid-career assessment and maintain annual reports. Undergraduate Mid-Career Assessment Plan 1) Cyclical process of identifying learning outcomes The Assessment Coordinator works with the Director, the Assistant Director, the Undergraduate Studies Committee and the Graduate Studies Committee and faculty to maintain consensus on identifying learning outcomes. 2) Assessing student achievement of those outcomes The Assessment Coordinator maintains an accurate database of student learning outcomes, then forwards assessment data to advisors who identify and counsel students not progressing in their degree programs. 3) Analyzing results of assessment The Assessment Coordinator forwards the assessment data to the Undergraduate Studies Committee who analyze the data using year-to-year, course-to-course, transfer- and native-admissions comparisons, direct and indirect measure comparisons, etc. 4) Using results of assessment to enhance curriculum and teaching-learning process The Assessment Coordinator presents a yearly assessment summary report to the faculty for review and discussion. Faculty and area committees use the report to inform and enhance curriculum and the teacher-learning process.

Undergraduate Mid-Career Assessment Plan, pg. 2 Revised Formats and Procedures: Mid-Career Assessment Student Report / Faculty Report See below- Course Prerequisites and Co requisites See below Student Handbook See below Assessment Cycle See below Third Semester Jury Reports

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

Student Handbook Appendix B Undergraduate Mid-Career Assessment

All native and transfer students having completed three semesters of coursework in the music major will be reviewed for satisfactory progress in the following areas: 1) Cumulative GPA 2) transfer exams (where applicable) 3) third-semester applied juries 4) three consecutive semesters of:

a) Applied Instrument / Third Semester Applied Jury b) Theory / Aural Skills c) Class Piano d) Listening (MUS 100 and MUS 190)

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Students not making satisfactory progress by achieving a “C” or better in the above areas will not be allowed to enroll in upper-division classes and should seek counsel from their assigned academic advisor. Third-Semester Applied Jury Music majors will perform a third semester repertoire and sight-reading applied jury in which they will be evaluated on progress in basic musicianship skills germane to the individual discipline. Students must receive a ‘C’ or better to pass the third-semester jury in order to enroll in upper-division applied study. Transfer Exams All transfer music majors are required to be evaluated in the following areas during the first class day of their first semester enrolled at WIU. Prior Coursework: Provide copies of transcripts Skill Exams: Theory / Aural Skills History Piano

Graduate Assessment

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

Assessment Cycle Summer Break Assessment Coordinator (AC) contacts transfer students regarding

evaluations, contact faculty to schedule/prepare evaluations.

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

Fall September Week 1 AC submits summary of previous academic year assessment to faculty

for -review, discussion, curriculum enhancement, etc.

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

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

to MVS.

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

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

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

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

and Graduate Studies Committees for analysis and program review.

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

Undergraduate Mid-Career Assessment Report Fall 2014 Date: ______________ Student: Assigned Academic Advisor: ______________ Student Signature: ___________________ Advisor Signature: ________________________ METHOD: Basic music skills courses, 3rd semester juries, and transfer placement exams are reviewed to indicate student progress in the degree program and potential success in upper-division coursework. Students not progressing with "C" in all categories below may be counseled for remediation or to change their major. SECTIONS REVIEWED 1 - Applied Grades, 3rd Semester Jury and Sight-Reading 2 - Theory & Aural Skills Grades/Transfer Placement 3 - Piano Grades/Transfer Placement 4 - History (MUS 190) Grade/Transfer Placement KEYS Admission Type Class 1 - freshman 6 – re-enter WIU new start 1 - Freshman 2 - visiting student 7 – graduate re-entry 2 - Sophomore 3 - transfer undergraduate 8 – graduate new 3 - Junior 4 – open admission 9 – non-degree freshman/special 4 - Senior 5- re-enter WIU undergrad high school STATUS ADM CLASS PROG INST. GPA Notes: Satisfactory TYPE CUM. Unsatisfactory GRADES & EVALUATION 1 - Applied Grades, 3rd Semester Jury and Sight-Reading Notes: SEM 1 SEM 2 SEM 3 JURY 3 SIGHT-READ

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2 - Theory Grades/Transfer Placement 080 181 183 182 184 281 283 282 284 (Theory I) (Aural (Theory II) (Aural (Theory (Aural (Theory (Aural Skills I) Skills II) III ) Skills III) IV) Skills IV)

Notes: 3 - Piano Grades/Transfer Placement 065 165 166 265 266 Remedial (Class (Class (Class Piano (Class Piano Piano Piano I) Piano II) III) IV)

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

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SCHOOL OF MUSIC Prerequisites and Corequisites Applied Study Prerequisite: audition and written consent of music advisor. Music majors receiving a grade of D or F in applied study on their principal instrument must reaudition for departmental, acceptance. Enrollment in upper division courses (400 level) requires a C or better on the third-semester principal instrument applied jury including sightreading. After a student passes the principal instrument third-semester jury, applied study in the principal instrument from the fifth through the eighth semester will receive upper division credit. Mus 166 Piano II Prerequisite: C or better in Mus 165 or equivalent. Mus 265 Piano III Prerequisite: C or better in Mus 166 or equivalent. Mus 266 Piano IV Prerequisite: C or better in Mus 265 or equivalent. Mus 300 Student Teaching Review Prerequisite: for instrumental-general majors: C or better in Mus 166; for choral-general specialization: C or better in Mus 266; C or better in Mus 282, and C or better in Mus 284. Graded S/U only. Mus 330 Conducting Prerequisite: Mus 282, and Mus 284. Mus 331 Choral Conducting Prerequisite: C or better in Mus 330. Mus 332 Instrumental Conducting Prerequisite: C or better in Mus 330. Mus 333 General Music in the Elementary/Middle School Prerequisite: Mus 166, Mus 182, Mus 184; for choral-general specialization only: Mus 231-232 or consent of instructor; Eng 180 and 280.

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Mus 334 Music for the Exceptional child Prerequisite: Mus 166, Mus 182, Mus 184; Eng 180 and 280; junior/senior standing or consent of instructor. Mus 335 Choral Methods Prerequisites: C or better in Mus 330. Mus 336 Instrumental Methods Prerequisite: Mus 166, Mus 182, Mus 184; Eng 180 and 280; instrumental techniques courses or equivalent background. Mus 337 Jazz Band Methods and Techniques Prerequisite: Mus 166, Mus 182, Mus 184. Mus 351 Basic Arranging Prerequisite: Mus 166, 282, Mus 284. Mus 367 Jazz Improvisation II Prerequisite: Mus 166, Mus 182, Mus 184, Mus 267. Mus 381 Analysis I Prerequisite: Mus 166, Mus 282, Mus 284; Eng 180 and 280. Mus 387 Jazz Arranging and Composition I Prerequisite: Mus 166, Mus 182, Mus 184, Mus 187. Mus 390 European Art Mus I Prerequisite: Mus 166, Mus 182, Mus 184, C or better in Mus 190; Eng 180 and 280. Mus 391 European Art Mus II Prerequisite: majors: Mus 390; minors: consent of the instructor. Mus 396 Choral Literature Prerequisite: Mus 166, Mus 182 and 184, Mus 232, Mus 262, Mus 263. Mus 430 Marching Band Techniques Prerequisite: Mus 116, Mus 265, Mus 281, Mus 283. Mus 439 Music Teaching in the Secondary Schools Prerequisite: Mus 166, Mus 282 and 284, Mus 330, Eis 201 and 301. Mus 453, 454 Influences of Music on Behavior Prerequisite: Mus 166, Mus 182, Mus 184; Mus 251, 252, 253, junior standing or consent of instructor, in succession. Mus 455, 456 Music Therapy Principles and Practices Prerequisite: Mus 166, Mus 182, Mus 184; senior music therapy major or consent of instructor, in succession. Mus 465, 466 Piano Pedagogy Prerequisite: Mus 182, Mus 184; Eng 180 and 280; Psy 100 and 221; Piano principal or consent of instructor, in succession.

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Mus 481 Counterpoint Prerequisite: Mus 166, Mus 282, Mus 284. Mus 482 Materials of 20th Century Music Prerequisite: Mus 166, Mus 282, Mus 284. Mus 483 Orchestration Prerequisite: Mus 166, Mus 282, Mus 284. Mus 485 Techniques of Electronic Music Prerequisite: Mus 166, Mus 182, Mus 184. Mus 495, 496 Piano Literature Prerequisite: Mus 182, Mus 184; Eng 180 and 280; piano principal or consent of instructor. Mus 487 Jazz Arranging and Composition Prerequisite: Mus 387, Mus 482, or consent of instructor. Mus 493, 494 Organ Literature Prerequisite: Eng 180 and 280; organ principal or consent of instructor. Mus 497 Jazz History, Selected Topics Prerequisite: Mus 166, Mus 182, Mus 184, Mus 397; consent of instructor.

10.4 – EXIT/GRADUATION LEVEL ASSESSMENT

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

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

• Music Therapy Option: Six-month Clinical Internship and examination for National

Registration as a Music Therapist

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

• Applied Music Option: Senior Recital Performance or Composition Portfolio

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

10.5 – ALUMNI ASSESSMENT

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

11.0 – SCHEDULING CONCERTS AND OTHER EVENTS

11.1 – SCHEDULING / SCHEDULING CONFLICTS

The School of Music faculty has endorsed a policy (4-24-98) that prohibits the scheduling of more than one concert or recital on the same date at the same time. This includes calendar conflicts with events on the Bureau of Cultural affairs schedule. Concerts and special events

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on campus as well as off-campus concerts and tours are scheduled through Joanie Herbert. If the event is other than routine, the Director should be consulted. Effective 2/03/05, no concerts or recitals shall be scheduled during final exam week or the Sunday prior to exam week.

11.2 - SCHEDULING PERFORMANCES

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

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

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

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

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

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

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

11.3 – School of Music Calendar Scheduling Order

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

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

1. All Special Events, including: Scholarship Concert, Marching Band Classic, annual

Choral Workshops held in the fall, Orchestra Halloween Concert, IMEA District IV Music Festival (WIU), Holiday Festival of choirs, Madrigal Dinners (every other year), IMEA All-State Music Festival (Peoria), Jazz Festival, Showcase of Bands, New Music Festival, Opera Theatre and any conferences hosted by the WIU School of Music.

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

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

4. Auditions

Faculty and BCA Scheduling: January – March, 2015:

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

6. BCA events, including the Faculty Chamber Series 7. Faculty Solo Recitals 8. Faculty Guest Recitals 9. Studio Recitals

General School of Music and Guest Scheduling: After March, 2015 Guest Scheduling is subject to the Guest Rental Information and Scheduling Guidelines (2014 – 2015) which can be obtained by contacting Joanie Herbert.

10. Students who are pre-authorized by their professor to perform during the first six

weeks of the fall semester may schedule in the preceding spring semester. All other students will wait until the Fall Student Recital Scheduling Days.

11. School of Music Student Organizations (Mu Phi Epsilon, Phi Mu Alpha, MTNA, etc.) 12. Outside guest events as approved by the Director of the School of Music Fall Semester 13. The Calendar is open for Student Recital Scheduling the second week of school

during the fall semester. All student recitals for the academic year shall be scheduled during these days in a prioritized manner according to major and seniority. (See 11.4 Scheduling Student Recitals).

11.4 – STUDENT RECITALS –

Scheduling Student Recitals The calendar is open for student recital scheduling during the second week of school in the fall semester. Students will be scheduled in a prioritized manner on designated days. All student recitals must be confirmed on the calendar by Friday, September 26, 2014.

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• Student recitals are allowed a maximum duration of 90 minutes.

• Full stand-alone solo recitals required for a degree in performance may be

scheduled for graduate students and seniors. All other performance majors will schedule combined recitals.

• Students outside of upper level performance major status will schedule

combined recitals. Combined recitals consist of two or more students giving two ½ duration stand-alone performances or a complete duration combined performance. One program will be made.

• All student recitals are scheduled with a tentative status pending the outcome of

a pre-recital hearing. Students shall follow this order for scheduling:

Tuesday/Wednesday – 9/2/14-9/3/14: Grad and Sr. Performance majors Thursday/Friday – 9/4/14-9/5/14: Grad and sr. Non-performance majors Monday/Tuesday - 9/8/14-9/9/14: Jr. and other student or student groups Recitals to be confirmed by September 26, 2014.

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

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

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

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

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

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

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

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

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

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

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

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

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

11.5 – ASSIGNMENT OF ACCOMPANISTS

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

11.6 – PROCEDURES AFTER SCHEDULING A CONCERT OR RECITAL

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

Publicity Publicity for events scheduled to take place in the Recital Hall must be submitted to the Recital hall Manager in electronic format by the three-week deadline, using Microsoft Word. Program information is sufficient for publicity. In the case of a guest recital, the guest biography, photo, and/or Web site address should be included.

All information will be forwarded to Bonnie Barker in University Relations for producing press releases in format for public release. University Relations will officially release publicity. The Recital Hall manager will place this information on the Recital Hall Web site and the University School of Music Web Calendar. Program information will also be sent out in a weekly event listing to the departmental listserv. If information is not sent by the deadline, these publicity services are not guaranteed.

For special events, press information should include all information listed in the checklist form: program information, complete ticket and box office information, tour locations, publicity photos and other items of interest related to the event. Developing print advertising, such as brochures, posters, and newspaper ads, are not a service of the Recital Hall Office. Simple fliers can be assembled for faculty recitals by request on a case-by-case basis if there is sufficient time and student help. However, any brochures, fliers, or posters containing any publicity information concerning an event scheduled in the Recital Hall, mailed to any mailing list or distributed across the campus or to the public must be also sent simultaneously to the Recital Hall Manager.

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

There are no fees assessed for technicians for music ensembles, faculty chamber ensembles or faculty recitals for the initial recording materials (i.e. CDs). Any ancillary recording services such as multiple copies and editing are also available on a “first-come, first-served” basis, but the faculty, graduate, and undergraduate recitalists must pay the technician’s fees. Any questions regarding recording forms should be addressed to Joanie Herbert. Questions concerning technicians, equipment, and recording fees should be directed to Terry Solomonson.

Stage Setup

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

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

Joanie Herbert should be notified and be sent copies of service requests of all equipment moving plans for events scheduled in the Recital Hall. The person in charge of the performance is responsible for arranging for the return of all equipment to its original place immediately following the performance, or before 8:00 a.m. the next morning.

11.7 – SUBMISSION OF RECORDINGS TO THE MUSIC LIBRARY

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

11.8 – SCHOOL OF MUSIC CALENDAR SCHEDULING ORDER

Spring Semester 1. Special Events: New Music Festival, Jazz Festival, Showcase of Bands, Auditions, IMEA

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

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

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

4. BCA Events including the Faculty Chamber Series 5. Faculty Solo Recitals 6. Faculty Guest Recitals 7. Studio Recitals 8. School of Music field trips 9. Preparatory Division Recitals 10. Students wishing to perform during the first six weeks of the fall semester 11. Student Organizations 12. Outside Guest events as approved by the Director of the School of Music

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

12.0 – PRE-COLLEGE MUSIC PROGRAMS –

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

12.1 – PURPOSE

• To provide a laboratory of pre-college pupils to support observation and student

teaching experiences for university students enrolled in pedagogy programs. • To support, through pupil tuition, the offering of graduate assistantships beyond those

allocated to the School of Music. • To provide a model of excellence for in-service teachers in the west-central region of

the state.

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

12.2 – DUTIES OF DIRECTORS

• Coordinate the curriculum and select core teaching materials to be used • Determine program operating policies and communicate same to teachers/parents • Initiate, annually, paperwork for reappointment of staff and graduate assistant teachers • Recruit, test, and schedule pupils for lessons and classes • Assign teaching duties to staff teachers and graduate assistants • Design, print, and distribute the annual program calendar • Determine, collect, and deposit tuition fees, keeping accurate financial records • Plan and schedule recitals and other special events • Supervise the keeping of accurate and complete pupil records

12.3 – OPERATING POLICY

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

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

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

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

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

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

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

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

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

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

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

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

13.0 – GRANTS

13.1 – OUTSIDE SOURCES

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

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13.2 – VISITING LECTURE REQUESTS

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

13.3 – WIU FOUNDATION FACULTY DEVELOPMENT GRANTS

The coordinated grant proposals fund special projects related to instruction. Guidelines are issued annually with deadlines usually in October and February. WIU Foundation Funding Priorities are:

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

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

several areas of the University.

13.4 – PROFESSIONAL TRAVEL GRANTS

Special funds in the Provost Office may be requested to support professional faculty travel beyond funds available through the School of Music budget.

13.5 – FACULTY RESEARCH GRANTS

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

13.6 – SUMMER STIPENDS

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

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

13.7 – PERFORMING ARTS SOCIETY GRANTS

PERFORMING ARTS SOCIETY ACADEMIC SUPPORT PROGRAMS

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General Information The purpose of this organization shall be to assist College of Fine Arts and Communication in the raising of funds to support arts programming through the Youth Performing Arts Series, the Bureau of Cultural Affairs, the Faculty Recital Series, and other programming centered around the arts at Western Illinois University. The Performing Arts Society will provide structural support for the Performing Arts Center and its programs. Activities shall include community and audience development, fund-raising, providing a social atmosphere for cultural activities and increasing the public awareness of the need and value of the performing arts. (PAS Bylaws) In keeping with the mission of the Performing Arts Society an Academic Support Program (PASASP) has been established to support academic programs, projects and/or events that enhance the arts at Western Illinois University. Eligibility

1) Applicants can only be faculty or staff from the College of Fine Arts and Communication. 2) Awarded applications are those that benefit students and/or the community and are tied

to an academic program 3) Awarded applications are those that promote excellence in the performing and visual

arts, providing a social atmosphere for cultural activities and increasing the public awareness of the need and value of the arts.

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

5) Funding cannot be used to pay travel and stipends to WIU employees 6) Special consideration will be given to those proposals that include matching funds from

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

Required Items and Attachments Applications must include the following:

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

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

strategic plan of the university 4) Description of how the request might benefit the mission and goals of the Performing Arts

Society. 5) Attached budget with a narrative explanation of each budget item and its purpose. 6) Submit both electronic and hard copies of the application to the Dean’s office by the

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

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renew the award for an additional year. Deadline Applications must be received by the Dean’s office on or before February 1st of each year to be eligible for the following academic year.

Approved: October 3, 2006 Updated: 8/ 2012

Performing Arts Society Academic Support Program Application Name _______________________________________________ Date________________ Name of Organization/Affiliation ______________________________________________ Email _____________________________________Phone Number ___________________ Please review the Academic Support Program guidelines and answer the following questions. Description of the request/project: Description of how the request will benefit the program, students, and/or community and the goals of the academic unit or strategic plan of the university: Description of how the request will meet the mission and goals of the Performing Arts Society: Attach a detailed budget with an explanation of each budget item and its purpose, to include: Amount requested ______________ Contractual ______________ Equipment ______________ Other ______________ Submit electronic and hard copies of the application to the dean’s office by February 1, 2014.

Approved: October 3, 2006

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14.0 – PROFESSIONAL STATUS

14.1 – RETENTION, TENURE, AND PROMOTION

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

14.2 – DEPARTMENT PROCEDURES

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

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

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

14.3 – PERSONNEL FILES

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

15.0 Musicians Health and Safety

Musician Health and Safety

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

Protecting Your Hearing Health

• NASM-PAMA Student Information Sheet on Noise-Induced Hearing Loss (pdf) • Music Induced Hearing Loss and Hearing Protection, by John F. King, Au.D.

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• OSHA: Noise/Hearing Conservation • Hearing Loss Decibel Levels • Noises and Hearing Loss

Musculoskeletal Health and Injury

• The Role of Rest, by Ralph A. Manchester (pdf) • A Painful Melody: Repetitive Strain Injury Among Musicians, by Tamara Mitchell (pdf) • Repetitive Stress and Strain Injuries: Preventive Exercises for the Musician, by Gail A. Shafer-Crane

(pdf) • MusiciansHealth.com

Psychological Health

• Performance Anxiety (WebMD) • Conquering performance anxiety from inside out, by Helen Spielman (pdf) • The Inner Game of Music, by Barry Green and W. Timothy Gallwey • A Soprano on Her Head: Right-Side-Up Reflections on Life and Other Performances, by Eloise Ristad

Equipment and Technology Safety

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

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

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

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APPENDIX I

SCHOOL OF MUSIC WORKLOAD EQUIVALENTS FOR TEACHING, ADVISING, AND OTHER DUTIES

2010-2015 WIU/UPI Agreement

Approved by Music Faculty October 2007

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

II. An important consideration of workload is Article 18(College Workload Equivalents). This Article

permits for the approval of special and unique equivalencies. Please note that such workload equivalencies require submission of a request to the Provost for approval after discussion with the Dean and Union Chapter president.

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

III. For purposes of determining workload (Article 18, University Workload Equivalents) the following

general rules shall apply:

A. Twenty-two ACEs shall be the maximum workload for two semesters. B. On the tenth day of the Fall Semester, the workload for the fall semester shall be fixed.

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

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

sabbatical leaves also count as an 11 ACE equivalency. V. The approved workload equivalents for Music for the Agreement, 2010-2015 are as follows: A. Mass Lecture (18.2.a)

A mass lecture shall be a course with more than 110 students. B. Preparations (18)

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Two of the following courses will count as one preparation, and three of the

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

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

463, 464, 465, 466, 492, 493, 494, 495, 496, 497

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

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

C. Touring of Ensembles (Article 18) Wind Ensemble 0.5 ACE* in semesters when tour occurs University Singers 0.5 ACE* in semesters when tour occurs Orchestra 0.5 ACE* in semesters when tour occurs Jazz Studio Orchestra 0.5 ACE* in semesters when tour occurs Marching Band 2.0 ACEs* public presentations in fall semester

*Does not include ACEs for scheduled rehearsals.

D. Undergraduate Advising (18)

Undergraduate Advising shall be pro-rated as follows: 1 - 8 students = 0.5 ACEs per year 9 – 16 students = 1.0 ACEs per year 17 – 24 students = 1.5 ACEs per year 25 – 32 students = 2.0 ACEs per year 33 – 40 students = 2.5 ACEs per year 41 – 48 students = 3.0 ACEs per year 49 – 56 students = 3.5 ACEs per year When music minor advisement is required, it will be performed by the Assistant Director of the School of Music as part of his/her assigned duties.

E. Graduate Advising (Article 18) Faculty shall receive 0.125 ACEs per actively enrolled graduate students advised. To be actively enrolled a student must have enrolled in at least one course towards their degree in the past 12 months. (note: Summer advising to be addressed in PAA points system)

F. Assistant Director of the School of Music 3 to 7 ACEs per semester, depending on workload responsibilities G. Directors of Ensemble Areas and Preparatory Programs (Article 18)

Faculty assigned to direct ensemble areas and other special programs shall receive the following ACEs:

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

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

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

3. Undergraduate Mid-Career Assessment 0.5 ACE per semester I. Graduate Studies Coordinator (Article 18) 0.5 ACE per semester

J. Area Coordinators 0.5 ACE per semester Strings, Wind/Percussion, Keyboard, Voice/Choral, History/Humanities, Theory/Composition (Article 18)

K. Professional Program Directors (Article 18):

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

L. Percussion Equipment Management and Maintenance (Article 18)

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

M. Special Course Equivalencies (Article 18)

Given the unique nature of the music courses this item addresses course load requirements by class and student specification.

1. Non-credit Assessment Courses

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

2. Applied Study MUS 204-229, 404-429, 504-529, will be credited with 2/3 ACE (0.67) per contact hour per week for scheduled lessons (based upon applied load reports due to the School of Music Director by the 10th day of the semester). Seminars, studio classes, student recitals, studio placement auditions, and juries are parts of the students contact, preparation, and evaluation for Applied Study, and will not be credited with extra ACEs. Such activities may be evidence of teaching excellence as provided for in the School of Music Criteria.

3. Ensembles

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

4. Lecture Courses

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

a. Lecture Equivalent Courses

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These courses shall be credited with 1 ACE per contact hour per week. They are similar to lecture courses in their requirements for preparation of lesson plans, structuring of instruction, testing and grading, and student use of instructors' out-of-class time.

MUS 181,182, 281, 282 (Music Theory I, II, III, IV) 3 ACEs

MUS 183, 184, 283, 284 (Aural Skills I, II, III, IV) 2 ACEs MUS 132, 133, 134, 135, 136, 137, 138 (Techniques Courses) 2 ACEs

b. Lecture-Applied Courses These courses shall be credited with 0.85 ACEs per contact hour per week. They are similar to lecture courses for about half of the preparation and instruction time, and similar to applied courses for the other half. (Some of these courses are 1 SH for 1 contact hour, some are 1 SH for 2 contact hours, and some are 2 SH for 2 contact hours.) MUS 065 (Remedial Piano) 1.7 ACEs

MUS 080 (Basic Music Skills) 1.7 ACEs MUS 165, 166, 265, 266 (class piano) 1.7 ACEs MUS 167 (intro to jazz piano) 1.7 ACEs MUS 162 (class voice) 1.7 ACEs MUS 161, 261 (class guitar) 1.7 ACEs MUS 187 (Jazz Fundamentals and Theory) 1.7 ACEs MUS 254 (Materials & Methods in Music Therapy) 1.7 ACES MUS 255 (Music Therapy Clinical Skills I) 1.7 ACEs MUS 267 (Jazz Improvisation I) 1.7 ACEs MUS 355 (Music Therapy Clinical Skills II 1.7 ACEs MUS 365 (Keyboard Skills) 1.7 ACEs MUS 367 (Jazz Improvisation II) 1.7 ACEs MUS 460(G) (Chamber Music Lit. and Tech.) 1.7 ACEs

c. Internship and Field Supervision

These courses shall be credited with .2 ACEs per student for supervision that does not involve travel outside of Macomb or .3 ACEs per student for supervision that does involve travel outside of Macomb. In addition, a scheduled hour of lecture will be credited with 1 ACE.

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

d. Evaluation of Teaching Certification Portfolios (18.18)

10 portfolios = 0 ACEs [per academic year] 11 or more portfolios – 0.5 ACEs for each five portfolios or fraction thereof

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

Student teaching supervision in the School of Music is a necessary supplement to the supervision that students get from the College of Education resident

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supervisors. Departmental supervision comprises two sets of responsibilities, Coordination and Direct Supervision.

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

Division • Overseeing student completion of appropriate applications and recommendations • Organizing a student teacher seminar each semester

Direct Supervision involves: • Monitoring and evaluating each student teacher's development, progress, and performance through phone calls and (on average, 3-5) site visits • Maintaining liaisons with resident supervisors and cooperating teachers • Developing and revising observation procedures • Developing contacts that may lead to new sites for future placements

Pre-Student Teaching clinical experiences are currently a part of MUS

130, 231, 232, 330, 331, 333, 334, 335, 336, and 395. Supervision of those experiences is included in the load credit assignment for those courses. If the College of Education delegates any additional pre-student teaching responsibilities to the School of Music, those workload equivalents will have to be defined.

f. Pre-college Teaching

Unit A faculty will not be assigned to pre-college teaching except for the minimum necessary for observations as provided in the DWE section on pedagogy courses.

N. Faculty Chamber Ensembles (18)

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

1. Camerata Woodwind Quintet 1.0 ACE per semester 2. Lamoine Brass Quintet 1.0 ACE per semester 3. Julstrom String Quartet 1.0 ACE per semester

4. Hopper Jazztet 1.0 ACE per semester

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

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

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

APPENDIX II

SUMMER ROTATION POLICY: WIU SCHOOL OF MUSIC 2010-2015 WIU/UPI Agreement

A. Formation of the Rotation Order

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

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

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

B. Eligibility for Summer Assignment

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

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

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

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

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

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

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

 APPENDIX  III  

   

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

Page I. School of Music Personnel Committee 2 II. Educational Requirements for Tenure 3 III. Materials and Methods of Evaluation 3

A. General Considerations 3 B. Teaching/Primary Duties 4 1. Role of Student Course Evaluations 4 2. Classroom/Studio/Rehearsal Observation 5 3. Peer Evaluations of Teaching Materials 6 4. Informal Observations/Evaluations 6 5. Additional Evidence of Teaching Effectiveness 7 6. Non-teaching Assigned Duties 8 C. Scholarly/Professional Activities 9 1. Types of Scholarly/Professional Activities 9 2. Means of evaluating quality 10 D. University/Community Service 11 1. School of Music Service 11 2. University Service 12 3. Community Service 12

IV. Performance Standards 12 A. General Considerations 12 B. Standards for Retention, Tenure, and Promotion 13 1. For Retention in PY 1 and PY 2 13 2. For Retention in PY3 13 3. For Retention in PY4 and PY5 and 14 For Tenure and Promotion to Associate Professor 14 4. For Promotion to Professor 15 V. Tenure or Promotion on the Basis of Exception 15

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

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

Endorsed by Music Faculty vote – December 4, 2007 Preamble: It is the intent of the Board, the Union, and the School of Music to promote the quality and effectiveness of education at Western Illinois University and to promote high standards of academic excellence in all phases of instruction, research, and service. The Board, the Union, and the School of Music recognize that an effective and harmonious working relationship will facilitate achievement of common objectives and will provide an environment conducive to the delivery of a high quality education and, moreover, affirm that academic freedom and responsibility should not be abridged or abused. All employees at Western Illinois University are expected to conduct themselves in an ethical manner. All faculty members are expected to adhere to the University's policies and regulations regarding professional behavior. Sanctions imposed for violations of employment obligations or professional ethics as specified in Board or University policy, rules, and regulations, or in the WIU/UPI Agreement, will be addressed with appropriate procedures as outlined in Article 21 of the WIU/UPA Agreement. I. School of Music Personnel Committee A. Election

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

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

B. The chair of the MPC may appoint a subcommittee of members of the MPC to help draft the narrative summaries for MPC decisions. C. Faculty on the MPC will not evaluate themselves. No alternate will be selected to serve in his or her place. D. The MPC will vote on each of the three areas for evaluation for each applicant. A majority of votes

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

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before the meeting. Only those members of the MPC who originally voted on a given application shall vote on an appeal of that decision.

E. Faculty on the MPC will not evaluate family members. No alternate will be selected to serve in his or her place. II. Educational Requirements for Tenure A. Performance (instrumental, vocal, conducting) – M.F.A., or Masters plus 30 semester hours of graduate work relevant to the area of specialization B. Music Therapy – Masters plus 30 semester hours of graduate work relevant to the area of specialization C. Music Business –Masters plus 30 semester hours of graduate work relevant to the area of specialization D. All Other Areas – Earned doctorate (Please find doctoral equivalency information on page 19) E. The nature of a faculty member’s classification must be clarified by the Director, in writing, at the

time of hire. III. Materials and Methods of Evaluation [Categories of materials and activities appropriate for the School of Music to use in each of the areas for evaluation, and the relative importance of the materials and activities. (20.4)] A. General Considerations

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

2. Every application for retention, promotion, and tenure must have a narrative statement that

describes the applicant’s activities in the three categories for evaluation, how those activities meet the Department Criteria for methods and materials for evaluation, and how those activities meet the School of Music Criteria for the performance standards for the appropriate level.

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

4. The applicant should keep in mind that the narrative is to be read and used by evaluators at all

levels of the evaluation process, and not just at the School of Music level.

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

6. The outline of materials and methods of evaluation indicates ways in which the narrative

should address particular evidence.

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

8. The lists of examples of the types of activities, which might be submitted in the various

categories of evaluation, are not intended to be prescriptive. Faculty members are not expected to be evaluated on all the items listed.

9. Optional external evaluations for tenure, associate professor, and full professor: Faculty

applying for tenure, associate professor, or full professor have the option of submitting an abbreviated electronic version of their portfolio for evaluation by three external evaluators. The applicant and Director will each suggest three possible evaluators; from this list of six professionals the external evaluators will be chosen in this order and number: one by the applicant, one by the MPC, and one by the Director. The pool of evaluators should be full professors in the specialty area(s) of the applicant at comparable regional comprehensive universities. However, the applicant may suggest tenured faculty from any kind of college or university. If there are not enough full professors available, tenured Associate Professors will be considered. In order to provide an objective professional evaluation based on the content of the abbreviated electronic portfolio, the external evaluators selected should not have a relationship to the applicant that would create a conflict of interest or undermine the integrity of the process. Application year timeline:

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

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

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

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

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

The applicant may abandon the external evaluation process at any time up to the date (October 31) the materials have been mailed. Once the abbreviated electronic portfolio has been sent to the external evaluators, the applicant is obligated to continue the process and include the external reviews in the Tenure/Promotion portfolio (exceptions as noted in the timeline). If the applicant misses any of the timeline deadlines, the external evaluation process will be aborted. The abbreviated portfolio should include: curriculum vitae, syllabi and representative course materials, programs and a CD/DVD of live performances and/or examples of scholarly work and publications, and an outline of service activities. The external evaluators will be provided with a copy of the School of Music Department Criteria for tenure, promotion to associate professor, or promotion to full professor, and each evaluator will base his/her comments on this criteria. In particular, the external evaluators will be asked to comment on: (1) the way the course materials and syllabi represent appropriate coverage of the topics, the currency of the

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

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

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

b. The results of the student course evaluation shall be presented with a mean or median

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

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

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

e. The undergraduate and graduate sections of any Applied or Ensemble course may be combined

for the purposes of course evaluation with the results reported as a composite.

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

g. In using the numerical scores for Student Course Evaluations, where 3 is a neutral response,

scores below 3 indicate a weakness. However, evaluators will acknowledge the inherent differences in form, content, or audience that might adversely affect a faculty member’s evaluation. [20.4.c. (1) (f)]

h. The integrity of the process of administering student course evaluations shall be respected and

maintained. Student course evaluations are to be administered during the last three weeks of regularly scheduled classes each semester except in the case of team-taught/shared courses in which the course evaluation should be administered during the penultimate week of the portion of the course taught by the particular faculty member. Other exceptions might include ensembles whose activities do not extend over the entire semester. In these cases, the course evaluation should be administered during the penultimate week of the course activities. Exceptions to this schedule may be granted by the School of Music Director. Faculty shall not be present while students are completing evaluation forms or receive the completed course evaluations until after grades have been submitted.

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

j. Faculty shall be evaluated on the basis of more than one measurement of teaching

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

k. Solicited letters of reference from current students shall not be included as evidence of

teaching effectiveness. Unsolicited letters from current students, as well as unsolicited or solicited letters from former students, may be included.

2. Classroom/Studio/Rehearsal Observation

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

b. Peer Observation of Teaching: Faculty must have a minimum of two peer observations by

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

c. Additional peer observation of teaching may be commissioned by the MPC or School of Music

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

d. A larger number of observations will be considered to carry more weight than a single

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

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

narrative report

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

(3) The written narrative should organize the observations and judgments of the evaluator

according to the following prompts: (a) Organization (b) Variety and pacing (c) Knowledge of content (d) Presentation (e) Teacher-student rapport (f) Clarity

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

g. The report of the observation will include: instructor; date and time of observation; course

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

h. The instructor will be permitted to attach a written response to the report of the observation,

and that written response will become part of the record of the observation.

i. The Director will evaluate oral English proficiency as mandated by Illinois statute. 3. Peer Evaluations of Teaching Materials

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

b. At minimum, the materials reviewed will include the syllabus and major exams and project

assignments. Instructor comments on student work may be included by the instructor, but shall not be required.

c. The results of the review will be in the form of a written narrative. The instructor will be given

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

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

4. For the purpose of improving teaching effectiveness, mid-term student evaluations, informal

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

5. Additional Evidence of Teaching Effectiveness

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

(1) Evidence may be presented of developing, maintaining, and revising course materials, such

as syllabi, reading lists, tests, study guides, reserves, web pages, and so on.

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

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(b) The narrative should describe the way in which such materials are evidence of

command of subject matter and ability to organize material. Selected course materials may be included in the supporting materials.

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

letters from colleagues.

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

b. Evidence of professional growth related to teaching.

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

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

the support materials need not include programs or advertisements or handouts. Proof of participation, however, should be available if requested.

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

(1) Attendance at workshops, seminars, Faculty Development events, travel, courses,

conventions, clinics, symposia, private study, or other such events related to subject or cognate areas may be presented.

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

but the support materials need not include programs or advertisements or handouts. Proof of participation, however, should be available if requested.

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

(1) The narrative should explain the new methodologies and technologies and their

relationship to pedagogical goals.

e. Evidence of student success. (1) Student success, such as performance on juries, recitals, and concerts, admissions to

graduate programs, prizes, preparation for advanced course work, and so on, may be presented as evidence of teaching effectiveness.

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

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

evaluating such evidence.

f. Evidence of evaluation of student progress. (1) Effective teaching involves evaluating student performance and progress.

(2) Evidence of evaluation of student progress may include exams, assignments, listening to

juries, organizing studio classes, attending recitals, convocations, and student ensemble concerts, and so on. Incorporating student writing in a course may be included.

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

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

technology, or equipment related to teaching.

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

which ACEs are not assigned.

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

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

(2) Evaluators will consider such factors as lack of personal contact between students and

faculty, student discomfort with technology, faculty preparation for distance teaching, and the effect of problems with the technology when evaluating the effectiveness of distance teaching. Such factors beyond the control of the instructor will not be held against the applicant.

j. Other Evidence

(1) Other evidence of effectiveness of teaching that is not described above may be included. The narrative should indicate the nature of the evidence and its relevance to the evaluation process.

6. Non-teaching Assigned Duties

a. Advising b. Director of Ensemble Program Assignments c. Area Coordinators d. Convocations Coordinator e. Assistants to the Director f. Accompanying g. Camerata Woodwind Quintet h. Julstrom String Quartet i. Lamoine Brass Quintet j. Hopper Jazztet k. Other Assigned Professional Activity l. For all non-teaching assigned duties, the outline shall include a comprehensive list of the assigned duties. For all non-teaching assigned duties, the written explanation of expectations under which the faculty member has been operating will be included in each portfolio. The file must present evidence of the effectiveness of the performance of these duties. The narrative should address the effectiveness of the performance of those duties, and should clearly distinguish between activities that are part of the assignment and activities that are not part of the assignment but should be evaluated as Scholarly/Professional Activity or Service. m. All evaluation portfolios must include the official final ACE sheet(s) for the evaluation period under consideration.

C. Scholarly/Professional Activities

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1. Types of scholarly/professional activities

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

publication may not be counted as two items.

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

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

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

c. Presentation

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

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

e. Other Research/Creative Activity

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

f. Adjudication

(1) The narrative should describe the context and significance of the activity and its relevance to professional achievement.

g. Participation in professional organizations

(1) The narrative should indicate the extent and nature of the participation, including whether the activity is at the national, state, or local level, and offices, positions and/or leadership roles.

h. Work in progress

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

i. Technology

(1) Any activity that involves technology and is equivalent to any of the creative, research, and professional activities above, such as editing an electronic mailing list, authoring software, editing a journal on the Internet, or a web-based publication may be included.

j. Other Evidence

(1) Other evidence of scholarly/professional activity that is not described above may be included. The narrative should indicate the nature of the evidence and its relevance to the evaluation process.

2. Means of evaluating quality

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a. Adjudicated activity – refereed, juried, invited, auditioned, selected, reviewed, etc.

(1) The narrative and outline should indicate the significance of the venue (journal, conference, orchestra, etc.; local, regional, national, international) and type of adjudication involved.

b. Non-adjudicated activity with non-WIU professional colleagues present

(1) Includes recital, tour, symposium, festival, and so on. (2) May be on campus or away. (3) May be an activity arranged by the applicant. (4) The narrative should indicate the significance of the venue and the extent to which the

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

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

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

colleagues opportunity to evaluate the work.

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

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

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

f. Performance

(1) Commonly accepted professional standards for quality of performance in the broad areas

of technique and musicality shall be applied in weighing the evidence of direct observation of performance.

g. Recognition

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

of research/creative activity.

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

j. Any activity that is not an assigned duty that draws on professional expertise belongs in the

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

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

professional expertise. D. University/Community Service

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1. School of Music Service

a. Committees

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

(2) Certain School of Music committees are central to faculty governance at the School’s

level, including Graduate Studies, Undergraduate Studies, Auditions/Talent Grant, Music Personnel Committee, Search Committees, Music Advisory Council, and Music Education.

(3) Other committees that may meet less frequently and have more limited agendas or

responsibilities are Grade Appeals, Music Technology, and Convocation.

b. Recruitment

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

(2) The narrative should fully describe the faculty member’s activities in the recruitment of

potential students. Such activities might include telephone contacts, letters written, visits made, lessons/master classes given, conventions/exhibits participated in, guest recitals/clinics given, etc.

(3) In cases where extensive recruitment efforts have not resulted in subsequent student

matriculation, the narrative could appropriately frame the challenges/circumstances that contributed to less-than-anticipated results.

(4) Each probationary faculty member who is required to include recruitment in Service shall

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

c. Sponsorship/Advising of Student Organizations

d. Faculty Mentoring/Peer Review

e. Other Committees and Activities

(1) Undergraduate Mid-Career Assessment (2) Commencements and Freshman Convocation

(3) Accreditation and Program Reviews (4) Equipment Management (5) Other evidence of School of Music service that is not described above may be included.

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

2. University Service

a. University Governance Structures (Committees, etc.)

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

b. Sponsorship of Student Organizations c. Other University Service

3. Community Service

a. Given that so much of the School of Music’s professional activity involves the community, no particular community service is expected.

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

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

4. The Service Activities listed above are broad enough in scope to allow faculty assigned to the WIU Quad-Cities campus to meet Service Activity requirements. IV. Performance Standards A. General Considerations 1. These performance standards refer to the methods and materials of evaluation described above.

2. These performance standards apply to all faculty members applying for retention, tenure, and promotion, regardless of whether they do or do not meet the years or service or educational requirements specified by the contract. Those faculty who do not meet the years of service and/or educational requirement specified for tenure and/or promotion, and are eligible to do so, may apply for promotion on the basis of exception. Please see “Tenure or Promotion on the Basis of Exception” page 18 of this document.

3. Evaluation for retention, tenure, and promotion, will be based on activities within the relevant

evaluation period as defined in Article 20. 4. Teaching is the most important consideration in the total evaluation of any faculty member.

Scholarly/Professional activity is the next most important consideration with service as the remaining consideration. These priorities are reflected in the specific standards below.

5. The standards for assigned non-teaching duties are in addition to meeting the specified teaching standards. They may not substitute for or be averaged with the teaching standards.

6. Evaluation Periods: Evaluation for PY 1 will consider documentation for fall semester of that year. Evaluation for PY2 will consider documentation for spring semester of the first year (with a review of PY1 outline). Evaluation for PY3 will consider documentation for fall and spring semesters of PY2 (with a review of PY1 and PY2 outlines). Evaluation of PY4 will consider documentation for fall and spring semesters of PY3 (with a review of all previous years’ outlines). Evaluation for PY5 will consider documentation for fall and spring semesters of PY4 (with a review of all previous semester outlines). This system is presented in the chart below.

PY Year Semesters to be documented:

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1 Fall PY1 2 Spring PY1 (plus PY1 outline) 3 Fall and Spring PY2 (plus PY1 and PY2 outlines) 4 Fall and Spring PY3 (plus all previous outlines) 5 Fall and Spring PY4 (plus all previous outlines) 6 (tenure year) Fall PY1-Spring PY5

7. The evaluation period for promotion (to both Associate Professor and Full Professor) will include the employee’s entire record since the initial hiring date up to and including the date of submission of the promotion portfolio.

B. Standards for retention, tenure, and promotion

1. For retention in PY 1 and PY 2, a probationary faculty member is expected to have a minimum 3.0 average mean score on student evaluations for each class taught, and must demonstrate at least satisfactory performance and progress toward the PY3 standard. In PY 1and PY 2 only Teaching/Primary duties is evaluated. Faculty in PY1 and PY2 are required to submit plans for pursuit of Scholarly/Professional activities, and may list Scholarly/Professional activities for that evaluation period if applicable. Faculty in PY1 and PY2 will demonstrate at least minimal service in each evaluation period. Service activities, Scholarly/Professional activities, and plans for Scholarly/Professional activities must be included in the evaluation portfolio for written advisory comment from the Music Personnel Committee, School of Music Director, and College Dean. A non-retention decision in PY1 and PY2 cannot be based on Scholarly/Professional or Service activities. PY1 and PY2 written advisory comments are intended for the faculty member’s professional development, and shall not be used as a basis for personnel decision making in PY1 or PY2, or in future evaluation years.

2. For retention in PY 3, a probationary faculty member must demonstrate the following. a. In the Area of Teaching/Primary Duties: (1) Command of and currency in the subject matter for every course assigned and the ability to organize the subject matter in a clear and appropriate manner;

(2) Effective presentation with evidence of effort to improve the effectiveness of presentation

(3) Effective performance of the assigned non-teaching duties; (4) Demonstrated student retention effectiveness and studio development for applied faculty; (5) Demonstrated student retention effectiveness and ensemble development for Ensemble directors; (6) Minimum 3.0 average mean score on student evaluations for each class taught. b. In the Area of Scholarly/Professional Activities:

(1) Productive activity in one or more areas of specialization leading to opportunities for the professional work to be exposed to and evaluated by non-WIU professional colleagues in local or regional venues or beyond;

(2) Sufficient activity for the quality of the work to be evaluated (according to the procedures described in the methods and materials section of the criteria); (3) Work of high quality, according to relevant prevailing professional standards. c. In the Area of Service:

(1) Involvement in a School of Music committee central to faculty governance at the School’s level; and/or

(2) Involvement in a School of Music committee with more limited agendas and responsibilities; and/or

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(3) Demonstrated student Recruitment effectiveness that reflects implementation and progress within the applicant’s Recruitment Plan. (4) Recruitment is required of applied faculty, ensemble directors, and program coordinators.

3. For retention in PY 4 and PY 5, the probationary faculty member must demonstrate at least satisfactory performance and progress toward the tenure standard. For tenure and promotion to Associate Professor, a faculty member must demonstrate the following.

a. In the Area of Teaching/Primary Duties: (1) The ability to maintain command of, currency in, and the ability to organize the subject matter for every course taught; (2) Highly effective presentation; (3) Creation of a stimulating learning environment that is appropriate to the type of instruction and conducive to learning.

(4) Highly effective performance of the assigned non-teaching duties, which demonstrates leadership and initiative.

(5) Demonstrated student retention effectiveness and studio development for applied faculty.

(6) Demonstrated student retention effectiveness and ensemble development for ensemble directors;

(7) Minimum 3.75 average mean score on student evaluations for each class taught. b. In the Area of Scholarly/Professional Activities:

(1) A cumulative record of substantial activity in one or more areas of specialization that includes adjudicated activity in significant regional venues. The minimum requirement for the areas of Music Education, Music History, Music Business, and

Music Therapy, shall be at least two refereed journal publications. However, if an individual faculty member can demonstrate that another activity in the

Scholarly/Professional area is of at least equal rigor and importance to the discipline, evaluators may consider this activity as substituting for one of the publications.

(2) Work of high quality, according to relevant prevailing professional standards. (3) For applied performance faculty, the activity must include 3 on-campus solo recitals. c. In the Area of Service: (1) A cumulative record of departmental service; (2) Plus: (a) Leadership in or significant contribution to departmental committee(s); or (b) University service germane to the faculty member’s professional interests or to the department’s mission or interests; or (c) Substantial community service; or

(d) Demonstrated student Recruitment effectiveness that reflects implementation and progress within the applicant’s Recruitment Plan. (3) Recruitment is required of applied faculty, ensemble directors, and program coordinators.

4. For promotion to Professor, an Associate Professor must demonstrate the following. a. In the Area of Teaching/Primary Duties:

(1) Teaching skills that demonstrate continued command of, currency in, and organization of the subject matter for every course taught, presented in a highly effective and stimulating fashion;

(2) Continued growth as a teacher;

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(3) Continued highly effective performance of the assigned non-teaching duties (4) Demonstrated student retention effectiveness and studio development for applied faculty. (5) Demonstrated student retention effectiveness and ensemble development for ensemble directors.

(6) Minimum 3.75 average mean score on student evaluations for each class taught. b. In the Area of Scholarly/Professional Activities:

(1) Sustained record of substantial activity of high quality that includes adjudicated activity in significant national venues. The minimum requirement for the areas Music Education, Music History, Music Business, and Music Therapy, shall be at least four refereed journal publications, two of which must have been published since promotion to Associate Professor. However, if an individual faculty member can demonstrate that another activity in the Scholarly/Professional area is of at least equal rigor and importance to the discipline, evaluators may consider this activity as substituting for one of the publications.

c. In the Area of Service: (1) A record of sustained involvement in School of Music service; (2) Plus: (a) Leadership in or significant contribution to School of Music committee(s); or (b) University service germane to the faculty member’s professional interests or to the School of Music’s mission or interests; or (c) Substantial community service; or (d) Sustained student Recruitment effectiveness

(3) Recruitment is required of applied faculty, ensemble directors, and program coordinators.

V. Tenure or Promotion on the Basis of Exception The educational requirement for tenure is specified on page 2 of this document. The educational requirement for promotion is the same as the educational requirement for tenure (Article 20.9.a.2). An employee who does not satisfy the degree requirements or educational requirements for promotion may apply on the basis of exceptional Teaching/Primary Duties or exceptional Scholarly/Professional Activities. Department Criteria will specify exceptional performance in each of the two areas. In addition to exceptional performance in the employee's chosen area, the employee will be expected to meet or exceed regular promotion requirements in each of the two other areas of responsibility (Article 20.9.c). A School of Music faculty member who applies for tenure or promotion on the basis of exception must meet one of these three two standards for exceptional performance: A. Exceptional Teaching/Performance of Primary Duties may be established by demonstrating a

nationally recognized reputation as a teacher; B. Exceptional Scholarly/Professional Activities may be established by demonstrating a reputation as an

expert in the relevant specialty based on a sustained record of adjudicated activity and activity in national venues;

C. In addition to exceptional performance in these two areas, the employee will be expected to meet

or exceed regular promotion requirements in the area of Service. VI. Unit B: Associate Faculty Promotion to Assistant Professor

(Article 33.1.d) A. Standards

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1. For promotion to Assistant Professor, an Associate Faculty member must demonstrate the following. a. In the Area of Teaching/Primary Duties: (1) Command of and currency in the subject matter for every course assigned and the ability to organize the subject matter in a clear and appropriate manner; (2) Effective presentation with evidence of effort to improve the effectiveness of presentation; (3) Effective performance of the assigned non-teaching duties; (4) Demonstrated student retention effectiveness and studio development for applied faculty; (5) Demonstrated student retention effectiveness and ensemble development for ensemble directors; (6) Minimum 3.75 average mean score on student evaluations for each class taught. b. In the Area of Scholarly/Professional Activities:

(1) Productive activity in one or more areas of specialization leading to opportunities for the professional work to be exposed to and evaluated by non-WIU professional colleagues in local or regional venues or beyond;

(2) Sufficient activity for the quality of the work to be evaluated (according to the procedures described in the methods and materials section of the criteria);

(3) Work of high quality, according to relevant prevailing professional standards.

c. In the Area of Service: (1) Involvement in a School of Music committee; (2) Involvement in University Service; (3) Demonstrated student Recruitment effectiveness that reflects implementation and progress within the applicant’s Recruitment Plan.

(4) Recruitment is required of applied faculty, ensemble directors, and program coordinators.

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Appendix IV

Professional Achievement Award School PAA Activities

Please refer to the UPI Agreement 2010-2015 for policy and procedure information concerning the following:

20.13. Procedures Unique to PAA Points System

20.14. Implementation of the PAA

20.15. Annual Report This appendix contains the following information:

1. Memorandum of Agreement

2. Instructions for completing the School of Music PAA application

3. The most recent School of Music PAA application form.

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Memorandum  of  Agreement  2010-15 Contract Extension

Professional Activities The administration and UPI have agreed to the following modifications to the “professional activities” category on the department’s PAA Activities Document:

1. A maximum of .5 points can be earned each year in the Professional Activity category.

2. The administration agrees to allow more than .1 per activity, if warranted by time and engagement. The administration agrees that points can be awarded on the basis of a combination of length and engagement.

3. The administration agrees that CITR workshops can be accumulated to meet minimum hourly requirements.

4. The administration agrees that points can be awarded outside the .5/5 hour of CITR workshops based on engagement and intensity (equivalent activity).

5. The administration agrees that chair approval will not be needed before a professional activity earn points.

6. It is agreed that professional conferences will not count as workshops unless the faculty member can demonstrate that the workshop was outside of the normal occurrence of the professional meeting (ie. Attending a paper presentation or similar panel does not count as a workshop).

Development of Distance Learning Courses The Administration and UPI have agreed that, for those faculty who develop a distance learning course and who are not receiving a stipend, the maximum number of PAA points that can be earned is 3 points (in addition to the ACEs provided under Article 16.4).

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PAA  Application  Information           April  27,  2009  School  of  Music    Format  of  documentation:    Documentation  shall  consist  of  a  list  of  activities  for  which  points  are  being  requested  in  the  current  evaluation  period.      Additional  documentation  may  be  requested  by  any  of  the  examiners.    1.   The  format  of  that  documentation  is  to  be  in  the  form  of  endnotes  (see  attached  sample  form).    2.   A  cardinal  number  in  parentheses  (the  same  font  size  as  the  PAA  Application  print)  is  to  be     placed  at  the  end  of  the  item  line  to  the  right  of  the  points  requested  (  no  roman  numerals).       That  number  will  be  referenced  in  the  endnotes.      3.   Endnotes  are  to  be  sequential  for  the  entire  document  with  no  additional  designation,  e.g.,  (1)     through  (22)  rather  than  in  categories.    This  system  will  allow  the  evaluators  to  easily  refer  to  a     particular  item  by  using  the  endnote  number.    General  and  documentation  information    Teaching/Primary  Duties  (minimum  of  8  points  required)   Departmental  Independent  Study/Readings       Documentation:    student  name,  course  number,  and  semester  the  study  took  place.    Undergraduate  research  supervision  of  projects  presented  and  completed  (URD)       It  is  my  understanding  from  the  Provost’s  Office  that  this  is  limited  to  (URD)  Undergraduate     Research  Day  projects.    Documentation:    student  name,  project  name,  and  date  of     presentation.    Honor’s  thesis  advised  and  completed       Student(s)  must  be  officially  registered  for  an  honor’s  course  number.    Documentation  to     include     student  name,  course  number,  and  semester  study  took  place.    Honor’s  recital-­‐  honors  recital  program  notes       Student(s)  must  be  officially  registered  for  an  honor’s  course  number.    Documentation:    student     name,  course  number,  and  date  of  recital.   Student research (adjudicated scholarship, performance, creative activity) advised and presented off campus   Points  given  for  work  adjudicated  and  selected  for  presentation,  e.g.,  a  student  paper  selected     for  presentation  at  the  American  Musicological  Society,  or  in  the  performance  area  students     who  compete  and  place  in  a  professional  competition  or  audition,  e.g.,  an  MTNA  or  NATS     competition.    Credit  is  not  given  for  students  who  compete  and  do  not  place.    Documentation:      student  name,  name  

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of  paper  or  other  research  selected  for  presentation,  or  name  of     professional  organization  competition  or  audition,  placement  (first,  second,  etc.  place),  and  date     of  event.    Graduate  Thesis  Committee  Chairperson,  upon  completion       Documentation:    student  name,  degree  program,  and  semester  completed.    Graduate  Project  Committee  Chairperson,  upon  competition       Documentation:    student  name,  degree  program,  and  semester  completed.    For  serving  on  a  doctoral  dissertation  committee       Documentation:    student  name,  degree  program,  and  semester  completed.    Development  of  an  online  course  (in  addition  to  ACEs)       Documentation:    course  number,  title,  when  approved  for  development,  when  completed,    when  first  offered.    FYE  faculty  who  work  with  peer  mentors  receive  .5  points  for  every  two  peer  mentors  supervised       Documentation:    name  of  peer  mentors,  FYE  course  name,  and  semester  offered.    Development  of  an  approved/fully  delivered  course  (not  online)  –  1-­‐3  points  (based  on  time  and  effort)       This  is  referring  to  development  of  a  new  course  not  preparation  required  to  teach  an  existing     course  you  have  never  taught  before.    Documentation:    name  of  course  and  semester  offered.    Undergraduate  Advising  –  1  point  per  17  students       Points  given  only  if  ACEs  were  not  received  for  advising.    Documentation:    student  names  and     semester  advised.    Graduate  Advising  –  10-­‐19  students/1  points;  0.5  point  for  every  10  additional  students       Points  given  only  if  ACEs  were  not  received  for  advising.    Documentation:    student  names  and     semester  advised.    Bringing  in  guest  artist  –  0.5  points  for  single  event  (up  to  1  pt.  a  year)       Points  are  not  given  if  guest  artist  is  part  of  a  festival  for  which  faculty  are  also  receiving  points.       Documentation:    guest  artist  name,  date  of  event.    Organizing  and  supervising  field  trip  –  0.5  per  trip    

Points  are  not  given  if  the  faculty  member  is  receiving  ACEs  for  a  job  which  includes  as  part    the  job  duties  organizing  and  supervising  field  trips.    For  example,  one  of  the  responsibilities  listed  for  an  

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applied  area  coordinator  is  that  they  “coordinate  .  .  .  .  student  travel  to  external    performance  venues/competitions/festivals.    An  example  of  a  field  trip  that  would  receive    points:    Jennifer  Jones  organized  and  supervised  a  field  trip  for  music  therapy  students  to  attend  the  American  Music  Therapy  Association  conference  in  Louisville,  KY.    Documentation:    number  of  students  involved,  purpose  of  trip,  location,  professional  organization,  date  of  trip.  

 Supervising/directing  non-­‐credit  ensembles  and  performances  –  1  point       Points  not  given  for  ensembles/performances  for  which  ACE  credits  have  been  received.       Documentation:    type  of  ensemble/performance  and  date.    Coaching  sectionals  beyond  the  applied  studio—0.5  (four  or  more)       Not  for  coaching  individual  students  or  groups  of  students  not  connected  with  an  ensemble  or     an  ensemble  festival  or  event.      Sectionals  that  are  done  for  recruiting  purposes  must  be  entered     under  recruiting  in  the  Service  section.    Documentation:    list  sectionals  with  dates.    Supervising  a  performance  by  an  ensemble  –  1  point  (regional);  2  points  (national);  3  points     (international)       Involves  invitation  to  perform  from  a  recognized  professional  organization;  is  the  result  of     an  audition  process  or  juried  competitive  procedure;  and  cannot  be  in  addition  to  points     requested  for  same  event  under  Scholarly/Professional  Activities.    Cannot  receive  points  if  part     of  job  description  for  which  ACEs  are  awarded.    Documentation:    name  of  inviting  organization,     type  of  event,  date  of  event.    Major  innovation  in  use  of  Technology       Documentation:    short  description  of  technology  use  which  demonstrates  major  innovation.    The  first  week’s  substitution  for  an  absent  colleague  in  a  course       Documentation:      Colleague  name,  course  name,  dates  of  substitution.    Taking  a  class  directly  relevant  to  faculty  member  with  prior  approval  of  Director  of  School  of  Music       Relevance  determination:      course  must  be  able  to  count  in  meeting  the  educational  requirement  for  tenure  for  the  faculty  member’s  specialty  area.      Documentation:    name  of  course,  institution,    and  semester  taken.      0.5  pt.  for  2  in-­‐class  honors  –  can  be  rolled  over  across  years  to  accumulate       Students  must  actually  be  enrolled  for  honors  credit  to  receive  points.    Documentation:    student     name(s),  course  name(s),  semester        

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Professional  Development  –  0.5    pts.  for  5  workshops       According  to  Provost  Office,  this  item  is  only  for  on-­‐campus  CITR-­‐type  workshops.      The     maximum  number  of  points  annually  is  0.5.    Documentation:    name  of  workshop  and  date.    Enhanced  Teaching  Performance  (see  appendix)  –  1  point       Read  appendix  information.    Documentation:    (a)  name  of  courses,  mean  scores,  semesters;  (b)     and  (c)  name  of  faculty  observer  or  course  content  evaluator,  names  of  courses,  semesters.    The     observation  reports  or  course  content  evaluations  do  not  have  to  be  attached  to  the  PAA     Application  but  must  be  readily  available  if  asked  for  by  one  of  the  PAA  evaluators.    An  equivalent  teaching/primary  duty       Cannot  be  related  to  anything  for  which  ACEs  are  received.    Documentation:    name  of  activity,     requested  point  amount,  explanation  of  equivalency.      Scholarly/Professional  Activities  (minimum  of  8  points  required)    Category  A:    Higher-­‐level  contributions  (2.5  to  3.0  pts.  each)    Publication  of  a  Book  by  a  university  press,  national  publisher  which  is  scholarly  and  peer  reviewed-­‐  3  points       Documentation:    book  title,  publisher  information  including  date    Publication  of  a  peer-­‐reviewed  journal  article  in  a  national/equivalent  venue  –  3  points         Documentation:    article  title,  journal  information  including  date    Publication  of  a  college  level  textbook  by  recognized  publisher  –  3  points       Recognized  publisher  indicates  some  level  of  competitive  peer/editorial  review  versus  vanity     press.    Documentation:    textbook  title,  publishing  information  including  date.    Publication  of  composition,  arrangement,  transcription  by  recognized  publisher  –  3  points       Recognized  publisher  indicates  some  level  of  competitive  peer/editorial  review  versus  vanity     press.    Documentation:    title,  publishing  information  including  date.    Recipient  of  national/international  scholarly/professional/creative  activities  award  –  3  points       National/international  indicates  professional  significance  and  scope  not  geographical  location.       Documentation:    name  of  award  and  awarding  organization,  date.    Competitive,  major,  Sponsored  Projects  approved  external  grant  award  (above  $25,000)  –  2.5       Documentation:    name  of  sponsored  project,  grant  award  amount,  date  

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   Full  length  recording  as  performer  or  composer  (peer  reviewed)  –  3  points       Documentation:    recording  information,  peer  review  information,  including  dates    Performance  or  other  artistic  achievement  in  invited  or  peer-­‐reviewed  national/equivalent  venue  –  3  points       Being  invited  to  perform  a  recital  by  a  colleague  at  another  education  institution  does  not     qualify.    National  indicates  professional  significance  and  scope  not  geographical  location.      Documentation:    listing  of  achievement  and  peer-­‐viewed  information.    Invited  performer,  conductor,  or  artist-­‐teacher  at  national/international  music  festival  (residence)3pts.       Documentation:    activity,  name  of  music  festival,  dates  of  residency.    Extended  guest  residency  (more  than  2  days)  –  3  points       Documentation:    name  and  date  of  the  activity,  justification  for  equivalence-­‐  i.e.,  how  is  the     proposed  activity  equivalent  to  the  other  items  listed  in  this  category  in  terms  of  professional     significance  and/or  work  required?    Category  B:    Moderate-­‐level  contributions  (1.5  to  2.0  pts.  each)    Delivery  of  a  peer  reviewed  presentation  (international,  national  or  regional)  –  2  points       International,  national,  or  regional  indicates  professional  significance  and  scope  not    geographical  location.    Documentation:    title  of  presentation,  peer  review  professional  organization,  name  of  conference  or  event,  date.    Invited  performance  or  peer-­‐reviewed  show  wherein  performance  or  artistic  work  is  accepted  –  2  points       Being  invited  to  perform  a  recital  by  a  colleague  at  another  institution  does  not  qualify.       Documentation:    type  of  performance,  peer-­‐review  information.    Publication  of  a  chapter(s)  in  a  book  –  2  points       Documentation:    title  of  book  and  chapter(s),  publication  information.    Editor  of  a  scholarly  book  –  2  points       Documentation:    title  of  book,  publication  information.    Publication  of  a  monograph  by  a  reputable  publisher  or  professional  organization  –  1.5  points       Documentation:    title,  publication  information    

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 Publication  of  a  peer  reviewed  journal  article  in  a  regional  venue  (does  not  include  conference  proceedings)  –  2  points       Regional  indicates  professional  significance  and  scope  not  geographic  location.    Documentation:     journal     article  title,  journal  name,  publication  information.    On-­‐campus  full  faculty  recital  –  2  points       Documentation:    date  and  location  of  recital    Invited  performer  at  an  all-­‐state  festival  –  2  points       Documentation:    nature  of  performance,  all-­‐state  festival  name  and  location,  date.    Adjudication  of  a  national/international  competition  –  2  points       National/international  indicates  professional  significance  and  scope  not  geographic  location.       Also,  preliminary  qualifying  parts  of  the  competition,  such  as  would  occur  on  a  regional  level,  do     not  qualify  for  points  under  this  item.    Documentation:    name  of  competition,  type  of     adjudication,  location  and  date.    Collaborative  accompanying  of  a  full-­‐length  recital  –  2  points       Documentation:    name  of  collaborative  performer,  date  and  location  of  recital.    Soloist  with  university  ensemble  –  2  points       Documentation:    name  of  musical  composition  performed,  ensemble  name,  date  and  location  of     concert.    Competitive,  minor,  Sponsored  Projects  approved  external  grant  award  (10-­‐25k)  –  1.5  points       Documentation:    name  of  sponsored  project,  grant  award  amount,  date    Editor  of  a  regional/national,  peer-­‐reviewed  journal  –  2  points       Regional/national    indicates  professional  significance  and  scope  not  geographic  location.       Documentation:    name  of  journal,  publication  information  including  frequency.    Article-­‐length  liner  notes  for  a  recording  –  2  points       Documentation:    name  of  recording,  date  of  recording  release    An  equivalent  professional  or  scholarly  activity    

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  Documentation:    name  and  date  of  the  activity,  justification  for  equivalence-­‐  i.e.,  how  is  the     proposed  activity  equivalent  to  the  other  items  listed  in  this  category  in  terms  of  professional     significance  and/or  work  required?    Category  C:    Lower-­‐level  contributions  (.5  to  1.0  pt.  each)    Publication  in  a  peer  reviewed  state-­‐level  journal  –  1  point       Documentation:    name  of  article,  name  of  journal,  publication  information    Publication  of  a  Book  Review-­‐  .5  point       Documentation:    book  information,  professional  publication  information  including  date    Delivery  of  a  peer-­‐reviewed,  state-­‐level  conference  paper  –  1  point       Documentation:    name  of  paper,  name  of  conference  and  sponsoring  professional  organization,     location  and  date.    Editor  of  state/regional  journal  –  1  point       Documentation:    name  of  journal,  name  of  professional  organization  publisher,  publication     frequency.    Membership  and  major  contribution  on  an  editorial  board-­‐  .5  point       Documentation:    name  of  editorial  board,  name  of  professional  sponsoring  organization  or     publisher,  statement  of  contribution.    Submission  of  an  unfunded  Sponsored  Projects  approved,  external  grant  -­‐  .5  point       Documentation:    name  of  project,  date  of  submission.    Awarded  internal  university  level  competitive  grant  –  1  point       Documentation:    name  of  project,  date  of  award    Summer  stipend  awarded  –  1  point       Documentation:    name  of  project,  date  of  award    Officially  assigned  and  actively  engaged  as  a  faculty  mentor  –  1  point       Documentation:    Name(s)  of  faculty  mentored.    Adjudication  of  a  state/local  competition-­‐  .5  point       Documentation:    name  of  professional  sponsoring  organization,  date  of  competition  

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Collaborative  work  on  recording  project  –  1  point       Documentation:    short  description  of  project  and  professional  nature  of  the  project,  date  of  the     project    Chamber  Performance  of  new  repertoire  –  1  points  per  program  (if  not  receiving  ACEs)       For  faculty  receiving  ACEs  for  a  faculty  chamber  ensemble,  the  School  of  Music  DWE     (Department  Workload  Equivalents)  document  contains  the  following  statement:    “Each     ensemble  will  rehearse  a  minimum  of  two  hours  per  week,  perform  once  a  year  in  the  Faculty     Chamber  Music  series,  provide  other  incidental  performances  as  appropriate,  and  schedule     performance  tours  of  high  schools  for  recruitment  once  a  semester.”       Documentation:    short  statement  that  indicates  date  of  the  program,  location,  and  how  this     program  exceeds  the  requirements  in  the  DWE  statement.    Composition  commission  from  regional/national/international  entity  –  1  points       Regional/national/international  indicates  professional  significance  and  scope  not  geographic     location.    Documentation:    name  of  commissioning  entity,  date  of  commission.    Adjudication  of  a  regional  competition  –  1  points       Regional  indicates  professional  significance  and  scope  not  geographic  location.    Documentation:       name  of  professional  sponsoring  organization,  date  and  location  of  competition.      Regional  master  classes,  presentations  or  composers  forum  –  1  point       Regional  indicates  professional  significance  and  scope  not  geographic  location.    Documentation:       name  of  professional  sponsoring  organization,  date  and  location  of  the  event.    Conductor  of  district/conference  state  level  –  1  point       Documentation:    name  of  professional  sponsoring  organization,  date  and  location  of  the  event.    Participating  on  a  panel  (if  organized/submitted  panel,  or  served  as  reviewer/respondent  to  multiple  papers)  -­‐  .5  to  1  point       Documentation:    statement  of  scope  of  responsibility,  name  of  panel  and  conference,  date  and     location.    Regional  orchestra  activity  –  principal/concertmaster  1  point;  conductor  2  points;  assistant  principal  .5  point;  associate  concertmaster/principal/conductor  .5  point      

Regional  orchestra  indicates  a  level  of  professional  significance  and  a  formally  constitute  professional  organization  that  has  a  board  of  directors.    A  self-­‐produced  and  controlled  

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  performing  organization  does  not  fit  under  this  particular  item.    The  points  listed  above  are  for     an  entire  year  not  each  performance.  

    Documentation:    name  of  regional  orchestra,  nature  of  professional  involvement,  dates  of     performances.    Creation  of  a  website  –  1  point       Documentation:    professional  nature  of  the  website,  date  created    An  equivalent  professional  or  scholarly  activity       Documentation:    name  and  date  of  the  activity,  justification  for  equivalence-­‐  i.e.,  how  is  the     proposed  activity  equivalent  to  the  other  items  listed  in  this  category  in  terms  of  professional     significance  and/or  work  required?    Service  Activities  (minimum  of  8  points  required)      Category  A:    (2.5  to  3.0  pts.  each)    Chair  of  a  major  University  Council/Committee  that  meets  one-­‐to-­‐two  times  per  month  (examples:    Graduate  Council,  CGE,  etc.)  –  3  points       Documentation:    name  of  council/committee  and  information  regarding  meeting  schedule.    Vice-­‐Chair  or  Secretary  of  Faculty  Senate  or  Vice-­‐Chair  of  CAGAS  –  2.5  points       Documentation:    indication  of  position.    Significant  leadership  position  in  one’s  professional  organization  –  3  points       Documentation:    name  of  professional  organization  and  short  explanation  of  significant     leadership.    Summer  Camp  Directors  –  3  points  per  camp  (if  no  other  payment)       If  payment  occurs  and  is  donated  back  to  the  camp,  PAA  points  will  be  assigned.       Documentation:    name  and  dates  of  camp.    Equivalent  service  activity       Documentation:    name  and  date  of  the  activity,  justification  for  equivalence-­‐  i.e.,  how  is  the     proposed  activity  equivalent  to  the  other  items  listed  in  this  category  in  terms  of  professional     significance  and/or  work  required?        

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Category  B:    (1.5  to  2.0  pts.  each)    Member  of  Faculty  Senate  –  2  points       Documentation:    statement  of  membership.    Member  of  a  major  University  Council  that  meets  at  least  one-­‐to-­‐two  times  a  month  (Graduate  Council,  CAGAS,  CCPI,  UPC,  or  CGE)  –  2  points       Documentation:    Documentation:    name  of  council/committee  and  information  regarding     meeting  schedule.    Chair  of  search  committee  –  2  points       Documentation:    name  of  position  search    Chair,  Music  Personnel  Committee-­‐  2-­‐3  points  (dependent  on  number  of  applicants)       Documentation:    statement  of  chairmanship  and  indication  of  number  of  applicants  by  category.    Chair,  active  department/college  committee  (meets  at  least  one-­‐to-­‐two  times  a  month)  –  2  points       Documentation:    name  of  committee  and  information  regarding  meeting  schedule.    Summer  Camp  Teaching  –  2  points  per  camp  (if  no  other  payment)       If  payment  occurs  and  is  donated  back  to  the  camp,  PAA  points  will  be  assigned.       Documentation:    name  and  dates  of  camp.    Summer  Graduate  Workshop  Teaching  (if  no  other  payment)  –  2  points  per  workshop       If  payment  occurs  and  is  donated  back  to  the  workshop  budget,  PAA  points  will  be  assigned.     Documentation:    name  of  the  workshop(s)  and  dates.    Equivalent  service  activity       Documentation:    name  and  date  of  the  activity,  justification  for  equivalence-­‐  i.e.,  how  is         the  proposed  activity  equivalent  to  the  other  items  listed  in  this  category  in  terms  of     professional  significance  and/or  work  required?    Category  C:    (.5  to  1.0  pt.  each)    Member,  UPI  Negotiating  Team  or  UPI  Executive  Committee  (if  not  already  receiving  ACEs)  –  1  point       Documentation:    statement  of  membership    Member,  search  committee  for  University  President  or  Provost/Academic  Vice  President  –  1  point    

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  Documentation:    committee  name  and  dates  served    Member  of  Faculty  Senate  ad-­‐hoc  committee  if  meets  at  least  once  a  month  for  full  year  (examples:    Distance  Learning  ad-­‐hoc  committee,  Foreign  Language/Global  Issues  Committee,  GERC,  Online  Course  Information  Implementation  Committee,  etc.)  –  1  point       Documentation:    name  of  committee  and  information  regarding  meeting  schedule.    Member  of  other  standing  Faculty  Senate  Committees/Councils  (or  university  committees)  that  meet  less  regularly  than  one-­‐or-­‐two  times  a  month  (examples:  WID,  CIA,  CCPU,  CIE,  COC,  Committee  on  President  and  Provost  Performance,  etc.)  -­‐  .5  point       Documentation:    name  of  committee(s)  and  information  regarding  meeting  schedule    Chair  of  standing  department  committee  –  1  point       Documentation:    name  of  committee    Chair,  College  Personnel  Committee  –  1  point       Documentation:    statement  of  chairmanship    Officially  assigned  and  actively  engaged  as  faculty  mentor  –  1  point       Can  be  counted    here  or    in  Scholarly/Professional,  but  not  both.    Documentation:    names  of     faculty  mentored.    Advisor,  student  organization  -­‐  .5  point       Student  organization  should  be  officially  recognized  by  Student  Activities.    Faculty  member    should  be  listed  officially  in  the  Music  Faculty  Handbook  as  an  advisor  for  the  organization  either     as  a  result  of  assignment  by  the  School  of  Music  Director  and/or  vote  of  the  students  in  the     organization.    Documentation:     name  of  student  organization.  Member,  standing/active,  time  intensive  department  or  college  committee  that  meets  regularly  -­‐  .5  to  1  point       Some  ACE  assignments,  e.g.,  Area  Coordinator,  Director  of  Ensemble  Area,  Graduate     Coordinator,  require  membership  on  certain  committees  as  part  of  the  duties  and     responsibilities  for  that  particular  ACE  assignment.    Please  refer  to  the  Music  Faculty  Handbook    for  those  job  descriptions.    Documentation:    name  of  committee(s)  and  information  regarding    meeting  schedule.      Non-­‐juried  presentation  or  workshop  -­‐  .5  point       Can’t  be  double-­‐counted  under  another  item  such  as  recruiting.     Documentation:    name  of  sponsoring  professional  organization,  date  and  location  of     presentation  

or  workshop.    

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 Classroom  Observations  of  Peer  Teaching  -­‐  .5  for  5  observations       Documentation:    name(s)  of  faculty  observed  and  dates  of  observations.    School  of  Music  website  maintenance/updating  –  1  point       Documentation:    information  on  nature  and  frequency  of  maintenance/updating.    Area  website  maintenance  (continual  updates  each  semester)  -­‐  .5  points       Documentation:    name  of  website,  information  on  nature  and  frequency  of     maintenance/updating.    Recruiting  that  requires  effort  throughout  the  entire  year  (if  not  receiving  ACEs)  –  1  point       Can’t  be  double-­‐counted  under  another  item  such  as  Non-­‐juried  presentation  or  workshop.     Documentation:    short  summary  of  recruiting  activities  and  successes  for  the  year.    Equivalent  service  activity    

Documentation:    name  and  date  of  the  activity,  justification  for  equivalence-­‐  i.e.,  how  is  he  proposed  activity  equivalent  to  the  other  items  listed  in  this  category  in  terms  of     professional  significance  and/or  work  required?

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School of Music Professional Achievement Award School PAA Activities Document

Name_______________________________________________________________ Year_________________ Department__________________________________________________________ Teaching/Primary Duties (minimum of 8 points required for PAA) Faculty must have received a rating (on the most recent retention, promotion, tenure, or four-year appraisal evaluation) that meets tenure requirements in Teaching/Primary Duties in order to be eligible to apply for a PAA. Assigned Duties (duties for which one receives ACEs)

• 1 pt. earned for each ACE over 18 in an academic year Note: Teaching assignments over 18 ACEs and any non-teaching or other Primary Duties for which one receives ACEs will fall under this area. Unassigned Duties (duties for which one doesn’t receive ACEs)

• Departmental Independent Study/Readings - .5 points per 3 sh hours completed. Can be rolled

over across years to accumulate.

• Undergraduate research supervision of projects presented and completed (URD) – 1 point

• Honor’s thesis advised and completed – 1 point • Honor’s recital—.5 for honors recital program notes • Student research (adjudicated scholarship, performance, creative activity) advised and

presented off campus – 1 point • Graduate Thesis Committee Chairperson, upon completion – 3 points

• Graduate Project Committee Chairperson, upon completion – 2 points • Graduate Thesis/Project Committee Member, upon completion - .5 point

• For serving on a doctoral dissertation committee – 1 points

• Development of an online course (in addition to ACEs) – 3 points

• FYE faculty who work with peer mentors receive .5 points for every two peer mentors

supervised

• Development of an approved/fully delivered course (not online) – 1-3 points (based on time and effort)

• Undergraduate Advising – 1 point per 17 students

• Graduate Advising – 10-19 students/1 points; .5 point for every 10 additional students • Bringing in guest artist – .5 points for single event (up to 1 pt. a year) • Organizing and supervising field trip -- .5 per trip

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• Supervising/directing non-credit ensembles and performances – 1 point

• Coaching sectionals beyond the applied studio -- .5 (four or more)

• Supervising a performance by an ensemble – 1 point (regional); 2 points (national); 3 points (international)

• Major innovation in use of Technology – 1 point

• The first week’s substitution for an absent colleague in a course — 0.5 pt.

• Taking a class directly relevant to faculty member with prior approval of Director of School of Music – 1 point

• 0.5 pt. for 2 in-class honors — can be rolled over across years to accumulate

• Professional Development -- .5 for 5 workshops

• Enhanced Teaching Performance ( see appendix) – 1 point

• An equivalent teaching/primary duty

Total ...................................................................................................................... Note: If activities overlap, the faculty member shall receive points in only one area. Points are only awarded for unassigned duties if ACEs are not given.

Scholarly/Professional Activities (minimum of 8 points required for PAA)

Category A: Higher-level contributions (2.5 to 3.0 pts. each)

• Publication of a Book by a university press, national publisher which is scholarly and peer reviewed – 3 points

• Publication of a peer-reviewed journal article in a national/equivalent venue – 3 points

• Publication of a college level textbook by recognized publisher – 3 points

• Publication of composition, arrangement, transcription by recognized publisher —3 points

• Recipient of national/international scholarly/professional/creative activities award – 3 points

• Competitive, major, Sponsored Projects approved external grant award (above $25,000)– 2.5 points

• Full length recording as performer or composer (peer reviewed) – 3 points

• Performance or other artistic achievement in invited or peer-reviewed national/equivalent

venue—3 points • Invited performer, conductor, or artist-teacher at national/international music festival

(residence)3 pts

• Extended guest residency (more than 2 days) – 3 points

• An equivalent scholarly/professional activity

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Category B: Moderate-level contributions (1.5 to 2.0 pts. each)

• Delivery of a peer reviewed presentation (international, national or regional) – 2 points

• Invited performance or peer-reviewed show wherein performance or artistic work is accepted – 2 points

• Publication of a chapter(s) in a book – 2 points

• Editor of a scholarly book – 2 points

• Publication of a monograph by a reputable publisher or professional organization – 1.5 points

• Publication of a peer reviewed journal article in a regional venue (does not include conference proceedings) – 2 points

• On-campus full faculty recital—2 points • Invited performer at an all-state festival – 2 points

• Adjudication of a national/international competition – 2 points • Collaborative accompanying of a full-length recital – 2 points

• Soloist with university ensemble – 2 points

• Competitive, minor, Sponsored Projects approved external grant award (10 – 25k) – 1.5 points

• Editor of a regional/national, peer-reviewed journal -- 2 points

• Article-length liner notes for a recording – 2 points

• An equivalent professional or scholarly activity

Category C: Lower- level contributions (.5 to 1.0 pt. each)

• Publication in a peer reviewed state-level journal – 1 point

• Publication of a Book Review -- .5 point

• Delivery of a peer-reviewed, state-level conference paper – 1 point

• Editor of state/regional journal – 1 point

• Membership and major contribution on an editorial board -- .5 point

• Submission of an unfunded Sponsored Projects approved, external grant --.5 points

• Awarded internal university level competitive grant – 1 point

• Summer stipend awarded – 1 point

• Officially assigned and actively engaged as a faculty mentor – 1 point

• Adjudication of a state/local competition – .5 point

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• Collaborative work on recording project – 1 point

• Chamber Performance of new repertoire – 1 points per program (if not receiving ACEs)

• Composition commission from regional/national/international entity – 1 points

• Adjudication of a regional competition – 1 points • Regional master classes, presentations or composers forum – 1 point

• Conductor of district/conference state level – 1 point

• Participating on a panel (if organized/submitted panel, or served as reviewer/respondent to multiple papers) – .5-1 point

• Regional orchestra activity – principal/concertmaster 1 point; conductor 2 points; assistant principal .5 point; associate concertmaster/principal/conductor .5 point

• Creation of a website – 1 point

• An equivalent professional or scholarly activity

Total ........................................................................................................................

Note: Scholarly/Professional Activity that is performed with others, such as a co-written publication, may be awarded pro-rated points. The faculty member shall propose the appropriate number of points and justify it to the DPC chair, department chair, and dean who will make the final determination.

Service Activities (minimum of 8 points required)

Category A: (2.5 to 3.0 pts. each)

• Chair of a major University Council/Committee that meets one-to-two times per month (examples: Graduate Council, CGE, etc.) -- 3 points

• Vice-Chair or Secretary of Faculty Senate or Vice-Chair of CAGAS -- 2.5 points

• Significant leadership position in one’s professional organization – 3 points

• Summer Camp Directors—3 points per camp (if no other payment) • Equivalent service activity

Category B: (1.5 to 2.0 pts. each)

• Member of Faculty Senate -- 2 points • Member of a major University Council that meets at least one-to-two times a month

(Graduate Council, CAGAS, CCPI, UPC , or CGE) -- 2 points

• Chair of search committee – 2 points

• Chair, Music Personnel Committee – 2-3 points (dependent on number of applicants)

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• Chair, active department/college committee (meets at least one-to-two times a month) – 2 points

• Summer Camp Teaching—2 points per camp (if no other payment)

• Summer Graduate Workshop Teaching (if no other payment) —2 points per workshop Equivalent service activity

Category C: (.5 to 1.0 pt. each)

• Member, UPI Negotiating Team or UPI Executive Committee (if not already receiving ACEs -- 1 point • Member, Search Committee for University President or Provost/Academic Vice President --1

point

• Member of Faculty Senate ad-hoc committee if meets at least once a month for full year (examples: Distance Learning ad-hoc committee, Foreign Language/Global Issues Committee, GERC, Online Course Information Implementation Committee, etc.) -- 1 point

• Member of other standing Faculty Senate Committees/Councils (or University Committees) that meet less regularly than one-or-two times a month (examples: WID, CIA, CCPU CIE, COC, Committee on President and Provost Performance, etc.) --.5 point

• Chair of standing department committee – 1 point

• Chair, College Personnel Committee – 1 point

• Officially assigned and actively engaged as faculty mentor – 1 point

• Advisor, student organization -- .5 point

• Member, standing/ active, time intensive department or college committee that meets regularly -- .5 to 1point • Non-juried presentation or workshop -- .5 point

• Classroom Observations of Peer Teaching -- .5 for 5 observations

• School of Music website maintenance/updating – 1 point

• Area website maintenance (continual updates each semester – .5 points

• Recruiting that requires effort throughout the entire year (if not receiving ACEs) – 1 point

• Equivalent service activity

Total ........................................................................................................................

Note:

• All points listed are “per year” and should be pro-rated for semester activity

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• Every department, college, and university committee cannot be listed and so “equivalent service activity” allows the faculty member to request points for such service. It is expected that chairs of committees receive credit however members should only receive points if the service was time intensive (ex. service on a grade appeal committee that doesn’t meet or meets once or twice a year should not result in the awarding of points).

• With the exception of the CPC chair, Curriculum College Committee chair, and Grade Appeals College Committee Chair, service activities that overlap shall receive points in only one area.

Bonus Points Points earned for activities listed in the Bonus Points category may be applied to meet the minimum number of points required in the appropriate area(s) of responsibility (Teaching/Primary Duties, Scholarly/Professional Activities, or Service Activities). So, bonus points for activities performed in the appropriate area (as determined by the faculty member, department chair, and DPC chair) may be used to meet or exceed the 8-point requirement in the appropriate area(s) of responsibility listed above. These points may be awarded for an activity not listed under Teaching/Primary Duties, Scholarly/Professional Activities, or Service Activities, or they may be additional points given for extraordinary performance. Under Bonus Points, a faculty member who receives ACEs may also receive points based on the level of responsibility or for a major contribution.

Bonus points can be earned for exceptional performance in the following areas:

• Additional points for the publication of major book or exceptional artistic recognition – 1-5 points

• Additional points for the recipient of a major grant – 1-3 points

• Distinguished Faculty Lecturer -- 8 points

• University or College Excellence Award -- 4 points

• Additional points for service wherein one receives ACEs (Chair, Faculty Senate; Chair, CAGAS; Chapter President, UPI; Chair, CCPI; Director, CITR; Associate Director, Honors) -- 2 points

• Significant recognition, honor, award in any of the three areas -- .5-3 points Other activity of comparable value – 1-3 points

Total…………………………………………………………………………………....………………… ..............................

Overload Points

Faculty may choose to count ACEs over 22 as “points” rather than overload.

• ________________________________________________________________________________ • ________________________________________________________________________________ • ________________________________________________________________________________ • ________________________________________________________________________________

Total ..............................................................................................................

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Total Points to date:

Accumulated in Past Years

This Year New Totals

Teaching/Primary Duties Scholarly/Professional Activities

Service Activities Bonus Points Overload Points

Grand Total…………………………………………………………………………………………….. _____ Department Chair _______________________ DPC Chair _______________________ Dean ______________________ Appendix Definition of Enhanced Teaching Performance: Enhanced Teaching Performance can be demonstrated by “a” below in conjunction with “b” or “c”:

a. High student evaluations, where courses meet the following thresholds for two or more courses in a semester or for one course in a semester that constitutes at least 50% of the assigned teaching load:

i. General Education courses (mean greater than or equal to 4.0) ii. Major courses (mean greater than or equal to 4.3) iii. Ensembles and applied courses (mean greater than or equal to 4.6) b. Strong peer observations (for one or more courses, if the observation report includes the

statement, “This observed teaching meets the standard for School of Music PAA points.”) i. At least three observations by one observer ii. At least two observations by two or more observers c. Strong peer course content evaluation (for one or more courses, if the evaluation report

includes the statement, “The evaluated course content meets the standard for School of Music PAA points.”)

Documentation shall consist of a list of the activities for which points are being awarded in the current evaluation period.

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APPENDIX V

ACCOMPANIST GUIDELINES Western Illinois University

School of Music PRIORITIES FOR ASSIGNING ACCOMPANISTS

1. Degree Recitals 2. Ensembles and Opera

Concert Choir Opera Orchestra University Singers Wind Ensemble

3. Instrumental and Vocal applied (Performance)majors 4. All other music majors 5. Non-degree recitals – music majors 6. Non-required applied students 7. Non-music major recitals

For faculty and student accompanist needs not addressed above, the recommended rate for an accompanist is $30 per hour. However, each individual and accompanist is free to negotiate rates.

ACCOMPANIST ASSIGNMENTS

Studio faculty submit accompanist requests (including literature list) for registered students in their respective studios by Friday of the 2nd week of classes each semester. Fall semester, if needed, faculty will have until the end of the 3rd week of classes to submit information for new students (freshman and transfers).

Generally faculty and students will be notified of accompanist assignments by Wednesday of the 3

rd week of classes.

Requests to accompany recitals occurring during the first 8 weeks of a semester must be submitted the previous semester.

The number of accompanist hours assigned per student will vary depending on several factors including but not limited to the number of hours requested by the faculty member, the priority order stated above, student applied year, degree program, music difficulty, and whether or not a recital is being presented that semester.

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SCORE SUBMISSION

Instrumental & Vocal students: No later than Friday of the 3rd

week of classes.

Recitals: At least 8 weeks before the scheduled date of the recital or Friday of the 3rd

Week of classes whichever comes first.

REHEARSAL SCHEDULING

Scheduling must occur at least 2 weeks before the first rehearsal.

Students giving recitals should contact their pianist no later than six weeks before the recital date to plan rehearsals.

Students should contact their pianist no later than the end of the third week of classes to schedule rehearsals, lessons, and studio classes for the semester. The accompanist and/or the student’s applied teacher can guide the student with regard to the number of rehearsals and lessons needed for a particular assignment.

REHEARSAL PREPARATION

Both soloist and accompanist are expected to attend rehearsals with music well prepared. The accompanist will help students explore musical ideas that will help the ensemble and correct mistakes; however, it is not the accompanist’s responsibility to teach notes, rhythm, or diction.

CANCELLATION POLICY

The following will result in the loss of School of Music sponsored accompanist use for the offending student for at least one semester.

• Failure to follow these policies or procedures • Failure 2 times to give 24 hour notice to cancel/reschedule • Emergency cancellations due to illness or extenuating circumstances will be

handed on an individual basis. However, two emergency cancellations equals one regular cancellation without minimum 24 hour notice.

 

Revised 1/2015 sjm