The School of Music Student Handbook is written as a guide for students majoring in the study of music at Nyack College. Each year the school makes continued efforts to enhance the program of study. The School of Music Student Handbook is updated each summer, and copies are made available to all music majors at the beginning of the fall semester.
The contents of this handbook, along with the Nyack College Catalog, are to be studied and referred to concerning questions relating to the music program. Students are responsible for the contents of this document and will be expected to meet the various curricular requirements.
The School of Music offers five music curricula at the baccalaureate level:
o Bachelor of Music in Performance
o Bachelor of Music in Music Education
o Bachelor of Sacred Music
o Bachelor of Music in Composition
o Bachelor of Arts in Music
NYACK COLLEGE MISSION STATEMENT
Nyack College, a Christian liberal arts college of the Christian and Missionary Alliance, seeks to assist students in their spiritual, intellectual, and social formation, preparing them for lives of service to Christ, to His church, and to society, in a way that reflects the Kingdom of God in its ethnic diversity.
SCHOOL OF MUSIC MISSION STATEMENT
The School of Music, in its various degree programs, is committed to excellence in personal, musical, and spiritual development, in an atmosphere, which fosters creativity, dedication, energy, and vision.
Primarily the mission and the academic goals of Nyack College determine the School of Music mission, goals and objectives. They are further shaped by the following factors:
q The desire and mandate to serve the Christian and Missionary Alliance denomination.
q The distinction of the Christian liberal arts college.
q The college’s location in the New York metropolitan area with its cultural resources and professional music schools.
SCHOOL OF MUSIC
GOAL 1: To graduate students who have acquired and developed the foundational academic skills of reading carefully and critically, communicating clearly and cogently, and thinking analytically and synthetically
· by designing into music courses a cognitive approach to the language and syntax of harmony, form, and the structure of music.
· by designing into the music history sequence a comprehensive overview of Western music and related religious, philosophical, political, scientific, and social developments.
· by designing into music literature courses the appreciation and understanding of non-Western music and music of the church, including research components and the analysis of contemporary phenomena in these areas.
· by fostering the aural development, kinesthetic processes, and aesthetic sensitivities which form the basis of professional caliber musicianship.
GOAL 2: To graduate students who have achieved a broad understanding of human learning.
· by fostering in our students the skills and motivation for life-long learning and participation in music.
· by encouraging all students to value the creativity of the human spirit and the aesthetic dimension of life.
· by promoting involvement in campus life through participation in aesthetic and cultural activities.
GOAL 3: To graduate students who have achieved an in-depth understanding of one particular field of study by meeting the requirements of at least one major
· by training our students to acquire the theoretical and practical skills required by music educators, church musicians, performers and composers.
· by fostering a broad knowledge of music literature, both sacred and secular, through study and performance.
· by employing a competency-based approach for course design and requirements throughout the program while encouraging artistic creativity.
· by cultivating career programs and awareness in the various music and music-related fields.
· by utilizing the cultural resources of various metropolitan New York area institutions.
GOAL 4: To graduate students who have achieved a basic Christian worldview understanding which can serve as a basis for interpreting experience
· by providing experiences in Christian ministry involving music in the Christian and Missionary Alliance and other churches.
· by promoting a sense of Christian love and caring throughout the endeavors of the School of Music.
· by building the self-esteem of the individual through musical achievement in the Christian context.
· by fostering a respect for diverse forms of music, worship, and culture.
GOAL 5: To strengthen a sense of civic responsibility to the community
· by promoting in our students an appreciation for the opportunities and responsibilities which exist in a democratic society concerning the arts.
· by encouraging involvement in civic affairs through music and the allied arts.
The School of Music provides professional training for qualified students in the following degree programs:
Bachelor of Music in Music Education
Bachelor of Music in Performance
Bachelor of Music in Composition
Bachelor of Sacred Music
Bachelor of Arts in Music
All curricula stress sound musicianship, active musical experience, knowledge of theoretical and practical issues in the field of specialization, acquaintance with the professional literature both sacred and secular as well as responsible participation in all phases of instruction. Graduates will have prepared for careers as performers, ministers of music, organist and choir directors, composers and teachers of music in public and private elementary and secondary schools. Graduates are also qualified for advanced studies in graduate schools.
ADMISSION TO THE PROGRAM
All students, freshman and transfer, are admitted to the music program on the basis of an audition, teacher recommendation and written essay. The audition is generally scheduled following the student’s acceptance by the college. Prospective music majors may, upon request, audition for the music faculty prior to submitting an application for admission to the college. Prospective students who reside within a 200-mile radius of the college are requested to audition in person before the music faculty. Prospective students living outside the 200-mile radius may submit a taped audition (audio or video) for review by the music faculty.
Placement tests in music theory, ear training and sight-singing are given to all new music majors during Freshman Orientation. Students who display competence in any of these areas may waive one or both semesters of the first year courses.
AP exam with separate sub-scores for Music Theory and Aural Skills:
Score of 3-5 on AP Music Theory exam = MUS123 Elementary Music Theory (3 credits)
Score of 3-5 on AP Aural Skills exam = MUS121 Elem. Ear Training/S.S. (1 credit)
Note: Students with AP Music Theory credits are still required to take Nyack’s music theory and ear training placement exams. In some cases, students may be required to take freshman theory or ear training even though they also receive AP credits. Such AP credits would count as electives. On the other hand, students with a score of 3-5 on the AP exam, who test very high on Nyack’s placement exams may receive up to 8 credits in theory and ear training upon the recommendation of the music faculty.
Music Education majors with a strong piano background may also waive the beginning Functional Piano courses by audition.
For more information, contact the Dean of the School of Music.
MUSIC EDUCATION MAJOR – B.M.
The Music Education major is designed for the training of teachers in elementary and secondary school music in accordance with the requirements of the Division of Teacher Education and Certification of the Department of Higher Education of the Sate of New York. In New York, permanent certification for teaching in the public schools is open only to those holding a master’s degree and having two years teaching experience; this curriculum, therefore, leads to recommendation for the provisional certificate for teaching (K-12) in the elementary, middle and high schools of New York. The State of New York certification procedures require that recommended students make personal application for this provisional certificate. The State of New York also requires that periodic testing administered for and that students demonstrate competency by passing these tests—list and reward students will receive individualized programs detailing required examinations and dates of administration. Education students must pass these tests in order to be admitted to upper division classes.
Graduates are also qualified to direct music in churches and to teach music on the mission field in schools for children of missionaries and government officials. The teacher education program of Nyack College has been approved by the Certification Commission of the Association of Christian Schools International (ACSI) for the preparation of teachers for ministry in Christian school education.
The focus of this course is the development of well-rounded and effective teachers. The inclusion of Bible courses makes an ideal program for one who wishes to serve both the community and church interests.
In addition to the general admission requirements listed in the Nyack College catalog, applicants will be expected to have satisfactory scores on the Scholastic Aptitude Test of the College Entrance Examination Board (generally 920 or more). Applicants wishing to transfer into the program in cases where the SAT scores are insufficient or not readily available will be expected to present a grade point average of not less than 2.25 on a four-point scale.
140 credit hours are required for the Bachelor of Music in Music Education degree. See catalog.
PIANO or ORGAN PERFORMANCE MAJOR – B.M.
ORCHESTRAL INSTRUMENT PERFORMANCE MAJOR – B.M.
The experiences in these degree programs are designed to prepare qualified students for graduate study and professional pursuits in these fields.
Applied requirements for performance majors include major and minor areas of performance. For graduation, proficiency in the applied minor shall be at the first year level required for majors. Organ, Harpsichord or Instrumental majors not majoring in piano will be required to pass a Piano Proficiency exam.
126 credit hours are required for the Bachelor of Music in Performance degree. See catalog.
VOCAL PERFORMANCE MAJOR – B.M.
This degree program is designed to prepare qualified students for professional performance careers, graduate study in voice, and teaching voice privately. Graduates of this program often become choral directors, soloists in oratorios and operas, and solo recording artists.
Applied requirements for voice majors include major and minor areas of performance. For graduation, proficiency in the applied minor shall be at the first year level required for majors. Voice majors not minoring in piano will be required to pass a Piano Proficiency exam.
126 credit hours are required for the Bachelor of Music in Performance degree. See catalog.
CHURCH MUSIC MAJOR - S.M.B.
The Church Music major is designed to train musicians for leadership positions in the church as ministers of music, organists, and choir directors. The course of study includes two years of approved fieldwork in church music under supervision of a faculty member designated by the Dean of the School of Music.
Applied requirements for Church Music majors include major and minor areas of performance. For graduation, proficiency in the applied minor shall be at the first year level required for majors. Church Music majors not majoring or minoring in piano will be required to pass a Piano Proficiency exam.
126 credit hours are required for the Bachelor of Sacred Music degree. See catalog.
COMPOSITION MAJOR – B.M.
This degree program is designed to prepare qualified students for careers in the fields of composition and arranging, as well as graduate study in these fields.
Applied requirements for composition majors include a major area of performance, and each student will present a senior recital (one hour in length) of original compositions organized, conducted, or performed by the student. Composition majors not majoring in piano will be required to pass a Piano Proficiency exam.
126 credit hours are required for the Bachelor of Music degree. See catalog.
LIBERAL ARTS MUSIC MAJOR - B.A.
The B.A. in Music program affords students the opportunity to study music primarily from a liberal arts perspective. It provides a strong foundation in music literature and history, theory and ear training, and consistent studies in performance areas, both individual and ensemble. This program is designed to serve students having solid intellectual interests and a commitment to aesthetic and artistic values. Students may also pursue significant studies in other liberal arts areas such as English, Psychology, Philosophy, Religion, or History.
Depending upon the secondary areas of concentration, graduates of this program are prepared for careers in music-related fields, such as church music ministries, music business, management, marketing, public relations, recording, radio and television, music theater and communications. Students may also pursue graduate studies in musicology, music education, and other music-related fields.
126 credit hours are required to the Bachelor of Arts degree. See catalog.
Students majoring in music are assigned an advisor by the Director of the Music Program during the fall semester of the freshman year. This advisor is a full-time faculty member who serves as the academic advisor and will counsel the music student throughout their course of study at Nyack College. While all changes in registration require the signature of the faculty advisor, it is the primary responsibility of the student to maintain comprehensive files of academic progress and accept full responsibility for completing all degree requirements.
The student’s personal advisement file should include:
· pre-registration forms.
· grade reports from each semester at Nyack College.
· any and all in-house documentation and correspondence affecting course of study.
· projections for course completion at Nyack College leading to graduation.
· all documentation as a transfer student to Nyack College including a copy of the catalog and transcript from the former school
Music majors normally register for 60-minute lessons (2 credits) in their major performing area each semester and 30-minute lessons (1 credit) in their minor performing area. With permission, students may register for 3 credits during the preparation of a junior or senior recital. The private lesson instructors assign semester grades which reflect the student’s progress and performance.
Applied instruction is an integral part of the overall program for each student. Adequate practice time needs to be scheduled to assure progress in both the major and minor areas. The following guidelines are considered to be the minimum:
1 credit per semester 3 hours of practice per week
2 credits per semester 6 hours of practice per week
It is the responsibility of the student to purchase any and all music scores required by the instructor as soon as they are assigned. Music can be ordered by phone at Joseph Patelson Music House in New York City, or through Cliff Hill Music in New Jersey. These are two of the finest in the country and they will accept major credit cards.
Joseph Patelson Music House 212-582-5840 www.patelson.com
Cliff Hill Music 800-819-8772 www.cliffhillmusic.com
Students are expected to adhere to their scheduled time for private lessons. Attendance at all private lessons is mandatory and absolutely no unexcused absences or “cuts” are allowed. The following policies will help in planning for your lessons each semester:
WEEKLY LESSON GUIDELINES
· If students miss lessons for any reason without notifying the teacher 24 hours in advance, the lesson is not made up. Teachers may assign a zero grade for lesson cuts.
· The student and teacher should establish the method for communicating with each other (e-mail, phone—please refer to the , campus mail) at the first lesson each semester. Students are responsible for responding to their teacher’s communications.
· If students or teachers miss lessons due to illness, required field trips, or professional commitments, it is up to the teacher to schedule makeup lessons. Students must supply documentation for illness (from the doctor) or field trip participation (from the professor.)
· Students need to complete 13 lessons per semester or 12 lessons and 1 master class in order to receive credit for private lessons.
· “Left over” make up lessons may be scheduled during final exam week when necessary.
Music majors enrolled in a professional music degree program (B.M. or S.M.B.) are required to satisfy a certain level of performance in addition to the completion of the minimum number of credits in applied music. In some cases, this will require additional hours of applied music.
Music majors (except those in the B.A. program) are required to perform jury exams in their major area at the end of each semester. Minor juries and piano proficiency juries are taken only during the spring semester, however, students may request to take minor and piano proficiency juries in the fall if they wish to satisfy the requirements. Juries are normally scheduled at the beginning of the final exam period. All students will take juries in the Spring Semester, BM Students, both semesters.
Students will receive an NC (no credit) grade if they do not perform their jury exam. The NC will automatically change to FX if the jury is not made up within 30 days.
In the cases of illness and dire emergencies, the private lesson teacher may submit to the Music Office a written recommendation and request for a jury postponement. This request should include supportive information from the proper authorities. A make-up jury may then be scheduled in the early part of the following semester.
Students performing a junior or senior recital perform a recital jury four weeks prior to the recital. (For detailed information see page 52.)
Piano and voice juries are to be performed by memory.
Music Education majors will perform a jury exam in Functional Piano during finals week of the fall and spring semesters until the proficiency examination is passed. The purpose of the jury examination is to determine whether the minimal standard required for music educators has been met.
At the end of this booklet, a sample copy of a Jury Form has been provided. This form is to be typed using computers, and copies brought to the jury exam. It is the responsibility of the student to have all forms thoroughly prepared for the jury exam, as no incomplete forms will be accepted under any circumstances. Near the end of each semester, Jury Forms may be easily processed on the computers located in the school computer Lab. Jury Forms may be obtained from the Music Office.
The information that follows will serve as a general guide to the levels of competence that are expected in each area of performance.
Frequently Asked Questions (FAQ’s)
for Applied Minors, Functional Piano, and Piano Proficiency
· How does a student choose an applied minor?
Music majors in professional degree programs who demonstrate the potential to reach the level of the appropriate minor requirements within approximately four semesters of college study may minor in any applied area offered by the college.
· How does one qualify to minor in a specific applied area?
By audition. Those who have received training prior to college may be approved for their minor area on the basis of their entrance audition. Others will be approved on the basis of a jury exam following one semester of college study (December or May jury Exam.) The music faculty will make the final decision in consultation with the private instructor.
· When should a student select their applied minor?
As early as possible in the program. The freshman year is preferable to allow ample time to complete the minor requirements.
· What are the requirements for satisfying the applied minor?
The first year level for the applied major area as stated in the School of Music Handbook. (Note: the piano minor requirements are divided into two years for clarity.)
· When should students take their minor juries?
Minor juries take place during May juries of the first and second year, or until the student passes their jury exam. Students who desire to satisfy their minor requirement during a fall semester may elect to take a minor jury exam in December.
· How does a student know when they have passed their minor requirement?
They will receive a letter from the School of Music upon successful completion of the minor requirement and minor jury exam.
· What happens if a student fails a jury?
An “NC” (no credit) grade will be given. In order to continue in their applied minor, the NC jury needs to be retaken and passed by the beginning of the following semester.
What is the difference between Functional Piano, Piano Minor, and Piano Proficiency?
Functional Piano (MUS 101, 102, 201, 202) classes prepare Music Education majors to accompany in the school classroom. Functional Piano serves as the applied minor for Music Education majors who are not piano or organ majors.
Piano Minors study privately and are required to demonstrate piano skills approximately equivalent to the first year level required for piano majors as described in the School of Music Handbook.
Piano Proficiency is the minimum level of piano skill required for all music majors in the professional degree programs (B.M., B.S.M.) who are not majoring or minoring in piano, organ, or Functional Piano. Students may need to study privately for a few semesters to achieve the Piano Proficiency level as described in the School of Music Handbook.
May non-Music Education majors select Functional Piano as their applied minor?
No. Functional Piano courses are designed exclusively for Music Education majors.
RECOMMENDED REPERTOIRE
· Major in Piano Performance
Requirements for Entrance: Prospective students should perform by memory at least two compositions in contrasting styles in addition to scales, arpeggios and sight-reading. Scales & Arpeggios: Major and minor (harmonic) scales up to three sharp and flat keys, four octaves of scales and arpeggios (triads) in parallel motion, played with hands together one octave apart, at four notes to a beat at a moderate tempo.
Solo Repertoire: Choose two pieces from the following list or compositions equivalent in difficulty: 1) J.S. Bach - Sinfonia Two or Three-Part Inventions or a Prelude and Fugue (WTC I); 2) an Allegro movement from an early sonata by Haydn, Mozart, or Beethoven (e.g. Haydn - D Major, Hob. XVI: 37, Mozart - K. 282 or Beethoven - Op. 79; 3) Schubert - Impromptu Op. 142, No. 2; 4.) Khachaturian - Toccata. Sight-Reading: Applicants may be asked to sight-read a simple song or four-part piece.
First Year: Four octaves of all major and harmonic minor scales and arpeggios in parallel motion, played with hands together one octave apart, at four notes to a beat (scales = 70-80, arpeggios = 60-70).
Solo Repertoire: Choose pieces from the following list or compositions equivalent in difficulty): 1) Baroque: J.S. Bach - Sinfonias, Two or Three-part Inventions, Preludes and Fugues (WTC I); two Sonatas by Scarlatti or Soler. 2) Classical: Early Sonatas by Haydn, Mozart and Beethoven (mvts. I/III; mvt. II has to be combined with either I or III). 3) Romantic: Chopin – Mazurkas, Waltzes, Nocturnes; Mendelssohn - Songs Without Words; Brahms – Intermezzi; Schubert –Impromptus; Schumann Op. 1, 2, 12, 15, 18, 19* 21, 23, 28; 82; Liszt - Consolations and other 19th century compositions of comparable difficulty. 4) Contemporary/20th Century: Debussy – Preludes, Children’s Corner, Suite Bergamasque; Bartok – Suite Op. 14, Allegro Barbaro; and other 20th century compositions of comparable difficulty. Sight-Reading: Hymns and vocal accompaniments.
Second Year: All major and minor (natural, harmonic and melodic) scales one octave apart, and also in thirds, sixths, tenths, and chromatic scales = 80-90. Arpeggios: all major and minor arpeggios in triads, dominant and diminished seventh chords, in root position and inversions = 70-80.
Solo Repertoire: Choose pieces from the following list or compositions equivalent in difficulty: 1) Baroque: Bach - Preludes and Fugues (WTC II), French Suites. 2) Classical: Sonatas by Haydn, Mozart and Beethoven. 3) Romantic: Mendelssohn – Variations Serieuse; Schubert – Impromptus, Sonatas; Schumann Op. 6, 7, 9, 26; Brahms – Variations, Liszt – Liebesträume, Concert Etudes; Hungarian Rhapsodies, and other 19th century compositions of comparable difficulty. 4) Contemporary/20th Century: Debussy –Preludes, Estampes, Images 1905, Suite pour le piano; Ravel – Sonatine; Prokofiev – Visions Fugitives, Sonata No. 3; Rachmaninoff – Preludes; Gershwin – Preludes; Albeniz – España; Ginastera – Danzas Argentinas; Messiaen – Preludes; Webern – Variations Op. 27; Crawford Seeger – Four Preludes; and other 20th century compositions of comparable difficulty.
Sight-Reading: Vocal, choral and instrumental accompaniment.
Third Year: Continued study of scales and arpeggios at four notes to a beat (scales = 90-100, arpeggios = 80-90) and preparation of junior recital. Solo Repertoire: Choose pieces from the following list or compositions equivalent in difficulty: 1) Baroque: J.S. Bach - Preludes and Fugues (WTC with 4/5 vcs.), English Suites, Partitas, Chromatic Fantasy and Fugue, Fantasy and Fugue in a; Italian Concerto. 2) Classical: Sonatas by Mozart and Beethoven. 3) Romantic: Sonatas by Schubert; Mendelssohn, Schumann and Brahms; and other 19th century compositions of comparable difficulty. Etudes by Chopin, Rachmaninoff, Scriabin, Liszt. Contemporary/20th Century: Debussy - L’Isle joyeuse, Ravel – Miroirs, Valse Nobles et Sentimentales; Prokofiev – Sonata No. 3 Op. 28; Scriabin – Sonata No. 2 Op. 19, No. 4 Op. 30; Albeniz –Suite Española; Crumb – Dream Images, and other 20th century compositions of comparable difficulty.
Jury Repertoire must include an etude and a twentieth century work.
Sight-Reading: Vocal, choral and instrumental accompaniment.
Fourth Year: Advanced study of scales and arpeggios at four notes to a beat (scales = 100-120, arpeggios = 90-100) and preparation of senior recital. Solo Repertoire: Choose pieces from the following list or compositions equivalent in difficulty: 1) Baroque: J.S. Bach - large works. 2) Classical: Late Sonatas by Mozart and Beethoven. 3) Romantic: Sonatas by Chopin, Schumann and Brahms; and other 19th century composition of comparable difficulty. Etudes by Chopin, Rachmaninoff, Scriabin, Liszt, Bartók ,Godowsky & Debussy. Contemporary/20th Century: Ravel –Le Tombeau de Couperin; Jeux d’Eau; Sonatas by Prokofiev; Ginastera, Scriabin, Copland, and Barber; Albeniz – Iberia (any piece); Crumb – Five Piano Pieces, and other 20th century compositions of comparable difficulty.
Jury Repertoire must include an etude and a twentieth century American work. Sight-Reading: Vocal, choral and instrumental accompaniment and other larger chamber music works.
Requirements for Piano Performance Juries: Memorized scales and arpeggios and three selections of solo repertoire in contrasting styles from the following list. A movement of a standard piano concerto may replace two solo pieces during the semester of concerto jury. During the semesters of junior and senior recitals, the recital juries take the place of the regular juries.
· Major in Church Music –piano majors
Requirements for Entrance: Prospective students should perform by memory two compositions in contrasting styles in addition to scales, arpeggios, and sight-reading. Scales & Arpeggios: Major and minor (harmonic) scales up to three sharp and flat keys, four octaves of scales and arpeggios (triads) in parallel motion, played with hands together one octave apart, at four notes to a beat at a moderate tempo. Solo Repertoire: Choose two pieces in contrasting styles from the following list or compositions equivalent in difficulty: 1) J.S. Bach – Two part inventions; 2) Clementi – Sonatina Op. 36; 3) Chopin – Preludes Op. 28 (Any one) 4.)Bartok – Sonatina. Sight-Reading: Applicants may be asked to sight-read a simple song or four-part piece.
First and Second Years: Four octaves of all major and harmonic minor scales and arpeggios in parallel motion, played with hands together one octave apart, at four notes to a beat (scales = 60-80, arpeggios = 50-70). Solo Repertoire: Choose pieces from the following list or compositions equivalent in difficulty): 1) Baroque: J.S. Bach - Sinfonias, Preludes and Fugues (WTC I); two Sonatas by Scarlatti or Soler. 2) Classical: Early Sonatas by Haydn, Mozart and Beethoven (mvts. I/III; mvt. II has to be combined with either I or III). 3) Romantic: Chopin – Mazurkas, Waltzes, Nocturnes; Mendelssohn - Songs Without Words; Brahms – Intermezzi; Schubert –Impromptus; Schumann Op. 1, 2, 12, 15, 18, 19* 21, 23, 28; 82; Liszt - Consolations and other 19th century compositions of comparable difficulty. 4) Contemporary/20th Century: Debussy – Preludes, Children’s Corner, Suite Bergamasque; Bartok – Suite Op. 14, Allegro Barbaro; and other 20th century compositions of comparable difficulty. Sight-Reading: Hymns and vocal accompaniment.
Third Year: All major and minor (natural, harmonic and melodic) scales one octave apart, and also in thirds, sixths, tenths, and chromatic scales = 80-90. Arpeggios: all major and minor arpeggios in triads, dominant and diminished seventh chords, in root position and inversions = 70-80. Solo Repertoire: Choose pieces from the following list or compositions equivalent in difficulty: 1) Baroque: Bach - Preludes and Fugues (WTC II), French Suites. 2) Classical: Sonatas by Haydn, Mozart and Beethoven. 3) Romantic: Mendelssohn – Variations Serieuse; Schubert – Impromptus, Sonatas; Schumann Op. 6, 7, 9, 26; Brahms – Variations, Liszt – Liebesträume, Concert Etudes; Hungarian Rhapsodies, and other 19th century compositions of comparable difficulty. 4) Contemporary/20th Century: Debussy –Preludes, Estampes, Images 1905, Suite pour le piano; Ravel – Sonatine; Prokofiev – Visions Fugitives, Sonata No. 3; Rachmaninoff – Preludes; Gershwin – Preludes; Albeniz – España; Ginastera – Danzas Argentinas; Messiaen – Preludes; Webern – Variations Op. 27; Crawford Seeger – Four Preludes; and other 20th century compositions of comparable difficulty. Sight-Reading: Vocal, choral and instrumental accompaniment.
Fourth Year: Continued study of scales and arpeggios at four notes to a beat (scales = 90-100, arpeggios = 80-90) and preparation of senior recital. Solo Repertoire: Choose pieces from the following list or compositions equivalent in difficulty: 1) Baroque: J.S. Bach - Preludes and Fugues (WTC with 4/5 vcs.), English Suites, Partitas, Chromatic Fantasy and Fugue, Fantasy and Fugue in a; Italian Concerto. 2) Classical: Sonatas by Mozart and Beethoven. 3) Romantic: Sonatas by Schubert; Mendelssohn, Schumann and Brahms; and other 19th century compositions of comparable difficulty. Etudes by Chopin, Rachmaninoff, Scriabin, Liszt. Contemporary/20th Century: Debussy - L’Isle joyeuse, Ravel – Miroirs, Valse Nobles et Sentimentales; Prokofiev – Sonata No. 3 Op. 28; Scriabin – Sonata No. 2 Op. 19, No. 4 Op. 30; Albeniz –Suite Española; Crumb – Dream Images, and other 20th century compositions of comparable difficulty. Jury Repertoire must include an etude and a twentieth century work. Sight-Reading: Vocal, choral and instrumental accompaniment.
Requirements for Church Music Piano Juries: Memorized scales and arpeggios and two selections of solo repertoire in contrasting styles at the end of each semester. A movement of a standard piano concerto may replace two solo pieces during the semester of concerto jury. During the semester of senior recital, the recital jury takes the place of the regular jury.
· Major in Music Education –Piano Majors
Requirements for Entrance: Prospective students should perform by memory two compositions in contrasting styles in addition to scales, arpeggios, and sight-reading. Scales & Arpeggios: Major and minor (harmonic) scales up to three sharp and flat keys, four octaves of scales and arpeggios (triads) in parallel motion, played with hands together one octave apart, at four notes to a beat at a moderate tempo. Solo Repertoire: Choose two pieces in contrasting styles from the following list or compositions equivalent in difficulty: 1) J.S. Bach – Two part inventions; 2) Clementi – Sonatina Op. 36; 3) Chopin – Preludes Op. 28 (Any one) 4.)Bartok – Sonatina. Sight-Reading: Applicants may be asked to sight-read a simple song or four-part piece.
First and Second Years: Four octaves of all major and harmonic minor scales and arpeggios in parallel motion, played with hands together one octave apart, at four notes to a beat (scales = 60-80, arpeggios = 50-70). Solo Repertoire: Choose pieces from the following list or compositions equivalent in difficulty): 1) Baroque: J.S. Bach - Sinfonias, Preludes and Fugues (WTC I); two Sonatas by Scarlatti or Soler. 2) Classical: Early Sonatas by Haydn, Mozart and Beethoven (mvts. I/III; mvt. II has to be combined with either I or III). 3) Romantic: Chopin – Mazurkas, Waltzes, Nocturnes; Mendelssohn - Songs Without Words; Brahms – Intermezzi; Schubert –Impromptus; Schumann Op. 1, 2, 12, 15, 18, 19* 21, 23, 28; 82; Liszt - Consolations and other 19th century compositions of comparable difficulty. 4) Contemporary/20th Century: Debussy – Preludes, Children’s Corner, Suite Bergamasque; Bartok – Suite Op. 14, Allegro Barbaro; and other 20th century compositions of comparable difficulty. Sight-Reading: Hymns and vocal accompaniment.
Third Year: All major and minor (natural, harmonic and melodic) scales one octave apart, and also in thirds, sixths, tenths, and chromatic scales = 80-90. Arpeggios: all major and minor arpeggios in triads, dominant and diminished seventh chords, in root position and inversions = 70-80. Solo Repertoire: Choose pieces from the following list or compositions equivalent in difficulty: 1) Baroque: Bach - Preludes and Fugues (WTC II), French Suites. 2) Classical: Sonatas by Haydn, Mozart and Beethoven. 3) Romantic: Mendelssohn – Variations Serieuse; Schubert – Impromptus, Sonatas; Schumann Op. 6, 7, 9, 26; Brahms – Variations, Liszt – Liebesträume, Concert Etudes; Hungarian Rhapsodies, and other 19th century compositions of comparable difficulty. 4) Contemporary/20th Century: Debussy –Preludes, Estampes, Images 1905, Suite pour le piano; Ravel – Sonatine; Prokofiev – Visions Fugitives, Sonata No. 3; Rachmaninoff – Preludes; Gershwin – Preludes; Albeniz – España; Ginastera – Danzas Argentinas; Messiaen – Preludes; Webern – Variations Op. 27; Crawford Seeger – Four Preludes; and other 20th century compositions of comparable difficulty. Sight-Reading: Vocal, choral and instrumental accompaniment. An oratorio chorus piano accompaniment (e.g. J.S. Bach – Cantatas; Vivaldi – Gloria; Mendelssohn - Elijah; Handel - Messiah, Judas Maccabaeus; Verdi – Requiem; Rutter – Requiem.)
Fourth Year: Continued study of scales and arpeggios at four notes to a beat (scales = 90-100, arpeggios = 80-90) and preparation of senior recital. Solo Repertoire: Choose pieces from the following list or compositions equivalent in difficulty: 1) Baroque: J.S. Bach - Preludes and Fugues (WTC with 4/5 vcs.), English Suites, Partitas, Chromatic Fantasy and Fugue, Fantasy and Fugue in a; Italian Concerto. 2) Classical: Sonatas by Mozart and Beethoven. 3) Romantic: Sonatas by Schubert; Mendelssohn, Schumann and Brahms; and other 19th century compositions of comparable difficulty. Etudes by Chopin, Rachmaninoff, Scriabin, Liszt. Contemporary/20th Century: Debussy - L’Isle joyeuse, Ravel – Miroirs, Valse Nobles et Sentimentales; Prokofiev – Sonata No. 3 Op. 28; Scriabin – Sonata No. 2 Op. 19, No. 4 Op. 30; Albeniz –Suite Española; Crumb – Dream Images, and other 20th century compositions of comparable difficulty. Jury Repertoire must include an etude and a twentieth century work. Sight-Reading: Vocal, choral and instrumental accompaniment. An oratorio chorus piano accompaniment (e.g. J.S. Bach – Cantatas; Vivaldi – Gloria; Mendelssohn - Elijah; Handel - Messiah, Judas Maccabaeus; Verdi – Requiem; Rutter – Requiem.)
Requirements for Music Education Piano Juries: Memorized scales and arpeggios and two selections of solo repertoire in contrasting styles at the end of each semester. A movement of a standard piano concerto may replace two solo pieces during the semester of concerto jury. During the semester of senior recital, the recital jury takes the place of the regular jury.
Functional Piano Requirement: Piano majors must take MUS301, Advanced Functional Piano, and pass the jury exam.
· Major in Composition –piano majors
Requirements for Entrance: Prospective students should perform by memory at least two compositions in contrasting styles in addition to scales, arpeggios and sight-reading. Scales & Arpeggios: Major and minor (harmonic) scales up to three sharp and flat keys, four octaves of scales and arpeggios (triads) in parallel motion, played with hands together one octave apart, at four notes to a beat at a moderate tempo. Solo Repertoire: Choose two pieces from the following list or compositions equivalent in difficulty: 1) J.S. Bach - Sinfonia or a Prelude and Fugue (WTC I); 2) an Allegro movement from an early sonata by Haydn, Mozart, or Beethoven (e.g. Haydn - D Major, Hob. XVI: 37, Mozart - K. 282 or Beethoven - Op. 79; 3) Schubert - Impromptu Op. 142, No. 2; 4.) Khachaturian - Toccata. Sight-Reading: Applicants may be asked to sight-read a simple song or four-part piece.
First Year: Four octaves of all major and harmonic minor scales and arpeggios in parallel motion, played with hands together one octave apart, at four notes to a beat (scales = 50-60, arpeggios = 40-50). Solo Repertoire: Choose pieces from the following list or compositions equivalent in difficulty): 1) Baroque: J.S. Bach - Sinfonias, Preludes and Fugues (WTC I); two Sonatas by Scarlatti or Soler. 2) Classical: Early Sonatas by Haydn, Mozart and Beethoven (mvts. I/III; mvt. II has to be combined with either I or III). 3) Romantic: Chopin – Mazurkas, Waltzes, Nocturnes; Mendelssohn - Songs Without Words; Brahms – Intermezzi; Schubert –Impromptus; Schumann Op. 1, 2, 12, 15, 18, 19* 21, 23, 28; 82; Liszt - Consolations and other 19th century compositions of comparable difficulty. 4) Contemporary/20th Century: Debussy – Preludes, Children’s Corner, Suite Bergamasque; Bartok – Suite Op. 14, Allegro Barbaro; and other 20th century compositions of comparable difficulty. Sight-Reading: Hymns and vocal accompaniment.
Second Year: All major and minor (natural, harmonic and melodic) scales one octave apart, and also in thirds, sixths, tenths, and chromatic scales = 80-90. Arpeggios: all major and minor arpeggios in triads, dominant and diminished seventh chords, in root position and inversions = 70-80. Solo Repertoire: Choose pieces from the following list or compositions equivalent in difficulty: 1) Baroque: Bach - Preludes and Fugues (WTC II), French Suites. 2) Classical: Sonatas by Haydn, Mozart and Beethoven. 3) Romantic: Mendelssohn – Variations Serieuse; Schubert – Impromptus, Sonatas; Schumann Op. 6, 7, 9, 26; Brahms – Variations, Liszt – Liebesträume, Concert Etudes; Hungarian Rhapsodies, and other 19th century compositions of comparable difficulty. 4) Contemporary/20th Century: Debussy –Preludes, Estampes, Images 1905, Suite pour le piano; Ravel – Sonatine; Prokofiev – Visions Fugitives, Sonata No. 3; Rachmaninoff – Preludes; Gershwin – Preludes; Albeniz – España; Ginastera – Danzas Argentinas; Messiaen – Preludes; Webern – Variations Op. 27; Crawford Seeger – Four Preludes; and other 20th century compositions of comparable difficulty. Sight-Reading: Vocal, choral and instrumental accompaniment.
Requirements for Composition Piano Juries: Memorized scales and arpeggios and two selections of solo repertoire in contrasting styles at the end of each semester. Music may be used for the solo repertoire. No juries required during the semester of senior recital.
· Piano Minors in All Degree Programs
Students minoring in piano will normally use the following two-year curriculum to meet the piano minor requirement:
First Year: Two octaves of all major scales and arpeggios in parallel motion, played with hands together one octave apart, at four notes to a beat (scales = 50, arpeggios = 40).
Solo Repertoire: Choose 2 pieces from the following list or compositions equivalent in difficulty:
· J.S. Bach – Two Part Invention
· Clementi – Sonatinas, Op. 36
· Chopin – Preludes Op. 28 (any one)
· Bartok – Sonatina
· Debussy – Arabesques.
· J.S. Bach – Sinfonia or a Prelude and Fugue (WTC I)
· An Allegro movement from an early sonata by Haydn, Mozart, or Beethoven.
i.e.: Haydn - D Major, Hob. XVI: 37; Mozart - K. 282; Beethoven - Op. 79
· Schubert - Impromptu Op. 142, No. 2
· Debussy – Preludes (any one)
Jury Requirements: Minor juries are required to be taken during all spring semesters of piano study until the minor level is satisfied. However, students may request to take a piano minor jury in the fall if they wish to satisfy the requirements. Students are expected to perform scales and arpeggios by memory, and two solo selections in contrasting styles. Music may be used for the solo repertoire.
The music faculty will determine if the student has satisfied the minor level requirement in piano on the basis of the jury examination. The student will be notified by letter when he/she has met the minor level requirement.
Piano Proficiency in All Degree Programs
These requirements pertain to students not majoring or minoring in piano, but who are satisfying the minimum level of piano proficiency required for the B. M. and B.S.M. degrees. Note: Students having piano background may take the Piano Proficiency Exam upon request during any semester.
Technical Requirements: Students are required to perform by memory one octave scales in all keys (major and harmonic minor), hands separately two notes to a beat (minimum = 50), I-IV-V-I chords, hands together, in all keys.
Solo Repertoire: Choose one piece from the following list or compositions equivalent in difficulty:
· J.S. Bach – Two Part Invention
· Clementi – Sonatinas, Op. 36
· Chopin – Preludes Op. 28
· Bartok – Sonatina
· Debussy – Arabesques.
Accompanying Skills:
· Voice majors: simple art song accompaniment, a 4-part hymn, and vocalize exercises.
· Instrumental majors - simple instrumental accompaniment
(e. g., Suzuki Level 1 or 2, or a 4-part hymn)
· Composition majors – student’s own original accompaniment, a 4-part hymn.
· Church Music majors - simple octavo accompaniment and playing vocal parts, a 4-part hymn, and vocalise exercises.
Jury Requirements: Piano Proficiency juries are required to be taken during all spring semesters of piano study until the minimum proficiency level is satisfied. However, students may request to take Piano Proficiency juries in the fall if they wish to satisfy the requirements. Music may be used for the jury exam.
The music faculty will determine if the student has satisfied the proficiency level requirement in piano on the basis of the jury examination. The student will be notified by letter when he/she has met the Piano Proficiency requirement.
· Major in Organ
Requirements for Entrance: Prospective students should perform at least two compositions in addition to technical exercises, scales, and sight-reading.
First Year: Technical requirements: studies in manual and pedal techniques in Gleason, Johnson, Peeters, and Nilson. Early works by Froberger, Pachelbel, Dandrieu and Bull. Buxtehude – Praeludia (Praeludium in F Major) and Chorale Preludes. Bach – Eight Little Preludes and Fuges, & Orgelbuchlein. 19th century composers such as Mendelssohn, Brahms -Eleven Chorale Preludes, and Vierne -Twenty-four Pieces. 20th Century American composers such as Rorem, Pinkham and Locklair. Hymn playing. Jury requirements: Fall: Bach – Chorale Preludes from Das Orgelbuchlein; One of the Eight Little Preludes and Fuges; prepare a hymn. Spring: Buxtehude – Praeludia; a contrasting work from a different period; sight read a hymn.
Second Year: Technical requirements: continuation of the above. Early works by Frescobaldi, Sweelinck, Du Mage and Clerambault. Buxtehude – Praeludia (Prelude, Fugue and Ciacona) or Lubeck – Praeludia. Bach – Little Fuge in G Minor, Prelude and Fuge in C Minor (BWV 549) or Toccata D Minor (BWV 565), Chorale Preludes from the Great Eighteen. Franck – Pastorale, Prelude, Fugue and Variation, and Cantabile. Reger – Thirty Short Chorale Preludes. Additional 20th Century American Works by Persichetti and Rorem. Anthem Accompaniment. Jury requirements: Fall: Bach – a larger work such as the Little Fuge in G Minor; a contrasting work by an early composer; prepare an anthem accompaniment. Spring: Bach – a Prelude and Fuge; a contrasting work from a different period; sightread an anthem accompaniment.
Third Year: Early works by J. Praetorius, Scheidemann or D’Aquin. Buxtehude – Praeludia in F# Minor or G Minor. Bach – Trio Sonatas, Prelude and Fuge in G Major (BWV 541.) Mendelssohn – Sonatas. Widor – Symphonies (selected movements.) Works by Langlais, Messiaen, or Dupre. A large scale work by a 20th Century American Composer such as William Bolcom or William Albright. Score reading and Transposition. Jury requirements: Fall: Buxtehude – Praeludia; a work from the Renaissance or Early Baroque; a 20th century American work; prepare an unaccompanied anthem in open score; prepare a transposition of a hymn. Spring: Bach – Prelude and Fuge; a work from the Romantic Period; a 20th century American work; read an unaccompanied anthem in open score, transpose a hymn at sight.
Fourth Year: Early works by Schlick, Byrd and Gibbons. Bruhns – Praeludia. Bach – Passacaglia (BWV 582), Prelude and Fuge in E-flat Major (BWV 552), Toccata, Adiago and Fuge (BWV 564.) Vierne – Symphonies (selected movements.) Tournemire – Movements from L’Orgue Mystique. Distler – Organ partitas. A large scale work by a 20th Century American Composer such as Organ Sonata – Vincent Persichetti. Improvisation. Jury requirements: Fall: Bach – Prelude and Fuge; a work from the Renaissance or early Baroque; a work from the Romantic Period; a 20th century work; prepare a hymn improvisation. Spring: The student should be prepared to play their Senior Recital; improvise on a selected hymn.
· Major in Voice
Required Repertory:
This is a guide as each student will have individual needs. All repertory must be approved by the teacher. Generally, each student, should try to have five songs memorized each semester for one hour students and 3 for ½ hour students. While this is not absolute, all songs learned will be listed on the jury forms, and we should try to maintain this level of scholarship. If a student consistently does not learn enough repertory they will fail their jury and be dropped as majors. Repertory will be assigned appropriate for the age and ability of the singer. If voice is the secondary instruments, or the student is a non-major, requirements are entirely up to the teacher as is recital participation. However, Education Majors are required to perform and do juries each semester and if voice is the second instrument they need perform only once