NORFOLK STATE UNIVERSITY COLLEGE OF LIBERAL ARTS

Transcription

NORFOLK STATE UNIVERSITY
COLLEGE OF LIBERAL ARTS
Department of Visual and
Performing Arts
Division of Music
HANDBOOK
Bachelor of Music:
In Music Education
With an Emphasis in Media
Master of Music:
In Music Education
In Performance
In Theory-Composition
2
Table of Contents
Page
Welcome
4
Norfolk State University Mission
5
College of Liberal Arts Mission
5
History of Music at NSU
5
Department of Visual Arts Mission
6
Division of Music Mission, Goals, and Objectives
6
The Faculty and Staff
9
Administrative Chart
15
Bachelor of Music
16
Bachelor of Music Course Descriptions
20
Master of Music
31
Master of Music Course Descriptions
38
Policies, Procedures, and Pertinent Information
42
General Admission
42
Audition and Preliminary Tests in Music (Undergraduate)
42
Advising
43
Course Selection and Pre-requisites
43
Grading
44
The Spartan Success Center and Retention Alert
44
Class Attendance
44
Applied Lesson Attendance
45
3
Tips for Music Majors
45
Substitutions
46
The Sophomore Proficiency
46
Music Academic Review
46
Selection of Applied Teacher
46
Applied Major and Juries
47
Applied Minor and the Piano Facility Examination
47
Change of Instrument
47
Recitals Class
48
Student Teaching Experience (Music Education Emphasis)
48
Media Internship (Media Emphasis)
49
Senior Recital
50
Application for Graduation
51
Accompanists
51
Concert Etiquette
51
Ensembles
52
Scholarships
53
Organizations
53
Music Computer Labs
53
Classroom Policy & Practice Rooms
54
Use of University Equipment
54
Health and Safety
54
Summer Music Program
55
Forms
56
4
Department of Visual and Preforming Arts
Division of Music
Greetings!
The Department of Music opened its doors to embrace and foster the power of the arts during
the formative years of Norfolk State College (now Norfolk State University). Today, the
Department of Visual and Performing Arts (VPAR) – Division of Music is proud to have
played a pivotal role in the development of artisans, educators, and media specialists in the
Commonwealth of Virginia, the nation, and the world. Steeped in heritage, tradition, and
outreach, the Department continues its role of providing high-quality instruction in music
education and music media that empowers a diverse student body to achieve maximum
competence as music professionals in a global society.
Known for its hands-on engagement of music students in their quest to aspire to the highest
heights of musical artistry, students study privately with a renowned faculty, perform in
nationally recognized ensembles, present recitals in major concert halls, and perform in venues
throughout the country. Students are offered a wealth of experiences in recording, mastering,
and editing, in state-of-the-art facilities, as well. Thus, we believe a musical journey at NSU
prepares students who seek not only excellence in their musical pursuits, but an array of
musical opportunities for music-making across genres, styles, and disciplines. We provide
further exposure through educational and historical travel.
With plans for a new Visual and Performing Art Building on the horizon, the Department is
ecstatically optimistic about the endless musical, educational, and outreach opportunities that
abound for students and connoisseurs of the arts in the region.
Therefore, come, join us. Walk in the footsteps of Noah F. Ryder, Reginald Parker, Adolphus
Hailstork, Emery Fears, and more. Be a part of the excitement of that which makes Norfolk
great. VPAR awaits your arrival for a glorious musical journey.
Behold! The Green and Gold.
Carl Haywood, D.M.A.
Chair, Department of Visual and Performing Arts
Director, Division of Music
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Norfolk State University Mission
Through exemplary teaching, scholarship, and outreach, Norfolk State University transforms
lives and communities by empowering individuals to maximize their potential, creating lifelong learners equipped to be engaged leaders and productive global citizens.
The College of Liberal Arts
The College of Liberal Arts embraces seven academic departments in the fine and performing
arts, humanities, and social sciences. The departments are English and Foreign Languages,
History and Interdisciplinary Studies, Mass Communications and Journalism, Political
Science, Psychology, Sociology, and Visual and Performing Arts. The Army ROTC program
is located in the College of Liberal Arts as well. Students in the College of Liberal Arts have
access to a wealth of learning experiences.
The mission of the College is to provide a transformative education that enables students to
maximize their potential to become creative, independent thinkers and lifelong learners who
adapt and contribute ethically to evolving national and international societies.
History of Music at NSU
From the founding of the college in 1935, music played a prominent role in the life of the
college and the surrounding community. Originally, music courses and activities were taught
and directed by part-time teachers. Thus in 1945, Harry Edward Savage became the first fulltime music teacher at the college. Music took a major thrust forward when Noah Francis
Ryder, noted composer, conductor, and teacher joined the Norfolk State College music faculty
in 1947, and his wife, Georgia A. Ryder, in 1948. Through his leadership, a music education
program was established. Dr. Rosemary Adams succeeded Mr. Ryder as Chair of the Music
Department in 1964 and in1969, Dr. Georgia A. Ryder became the department chair. Music
flourished under her tutelage and in 1975, the department received associate membership and
accreditation from the National Association of Schools of Music. Under Dr. Ryder’s tenure,
two new degree programs were established and approved: the Master of Music program and
the Bachelor of Music with an Emphasis in Media.
When Norfolk State obtained university status in 1979, the Music Department became a part
of the School of Arts and Letters. Dr. Ryder became Dean of the School of Arts and Letters
and Dr. James M. Reeves became the Chair of the Music Department. Upon Dr. Reeves’
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retirement in 1984, Dr. Carl G. Harris, Jr. became department chair and was succeeded by Dr.
Dexter Allgood (1997), O’Neill Sanford (1997), Dr. Ernest Brown (2005), Dr. Amelia RossHammond (2008), Dr. Sam Dorsey (2011), and Dr. Brown again in 2013. At the retirement of
Dr. Brown in December of 2013, Dr. Carl Haywood was appointed Acting Chair.
On July 1, 2014, the Department of Music was merged with the Department of Fine Arts and
renamed the Department of Visual and Performing Arts. Formerly in the Department of
English and Foreign Language, Theater was also placed in the new department. This merger
is part of the University’s ongoing efforts to streamline administrative functions while
strengthening academic areas that will allow the University and its programs to excel. Dr. Carl
Haywood has been appointed chair of the newly formed Department of Visual and Performing
Arts. In this new departmental structure, it is anticipated that music, art, and theater will
function in unison under one administrator with division directors and foster innovative
programming and collaborations.
Department of Visual Arts Mission
The mission of the Department of Visual and Performing Arts is to cultivate artistic expression
that empowers a diverse student body to achieve maximum human potential in music, visual
arts, and drama; provide high-quality instruction; advance scholarship; and promote universal
understanding through the arts.
Division of Music Mission
The Mission of the Division of Music is to cultivate artistic expression, promote universal
understanding through music, foster musical enlightenment to the campus and community atlarge, advance scholarship, and provide high-quality instruction in music education and music
media that empowers a diverse student body to achieve maximum competence as music
professionals in a global society.
Goals
The primary goals of the Division of Music are to:
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Provide a comprehensive education and understanding in music that assures
competency in all areas of the field of study;
Encourage the highest level of creative and artistic expression in traditional and nontraditional musical idioms;
Promote musical scholarship and activities that enlighten the academic and broader
communities;
Foster personal and intellectual growth among students;
Contribute to the cultural life of NSU, city, state, nation, and global community;
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
Expand the understanding and appreciation of the music and culture of African
Americans; and
Work collaboratively with other institutions, organizations, populations to enhance
partnerships, diversity, outreach, and global understanding.
Objectives
The following objectives will be used to attain the goals:
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Increase student engagement in courses that develop high levels of competency and
musicianship, as defined by the National Association of Schools of Music (NASM);
Offer students opportunities to demonstrate their artistic and creative abilities in a
variety of performance settings, including academic, professional, national, and
international venues;
Require students to attend departmental, university-wide, and regional concerts;
Increase opportunities for scholarly and intellectual pursuits among music students and
faculty;
Encourage student participation in service learning, international studies, and activities
that enhance diversity, human growth, civic engagement, and life skills;
Expand access to courses about the music of African Americans and world music;
Enlarge the Division’s technological infrastructure as a tool for teaching, learning,
classroom management, and student growth and retention; and
Engage in collaborations that broaden access to learning and musical resources for
students, faculty, and stakeholders.
The Division offers an array of theoretical and laboratory experiences which target enthusiasts
seeking an intimate but diverse environment for the study of music. Nestled in the largest
metropolis in the Commonwealth, students embrace traditional and contemporary learning
communities under the tutelage of a renowned Faculty engaged in major performing societies
locally and nationally. Students are afforded rare opportunities to perform with professional
music aggregates and the Department’s superb ensembles are requested and contracted locally,
regionally, and nationally to present performances to discerning audiences. Strong ties and
collaborations with school districts, the Faith Community, and alumni chapters ensure
innumerable possibilities for internships, student teaching, and practical experiences in audio
and video production. While music from all historical periods are analyzed and performed, the
music of the African American Diaspora and non-traditional genres are coveted.
The University boasts one of the finest performance venues in the region and the
Commonwealth for concerts and lectures. As such, the Virginia Symphony Orchestra was in
residence in the hall for its rehearsals and selected performances in 2014.
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As a result of the high-caliber training music students receive and their thirst for musical
expression and creativity, they are able to gain acceptance into nationally acclaimed graduate
music programs, including, Indiana University, University of Michigan, West Virginia
University, University of Southern California, and Shenandoah Conservatory of Music, to
name a few.
Among HBCUs, the Division offers one of the few graduate music programs nationally and
the only extant program in the region.
Numerous music alumni are employed by school systems throughout southeastern Virginia
and the nation who attribute their success to the intensive, innovative, and consummate quest
for excellence gleaned from interactions with faculty and students. In addition, graduates of
the Media Program have rewarding careers within media outlets and the entertainment
industry.
Students participate in study abroad programs that contribute to their academic, creative, and
personal success. Opportunities to study in countries such as Cuba and Italy have provided
music students with learning experiences that are enriching and transformative. Through its
faculty, staff, and broader University support programs, students are provided the
infrastructure for success in a nurturing, challenging, and provocative environment.
Norfolk State University is an accredited institutional member of the Southern Association of
College and Schools and the National Association of Schools of Music.
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Faculty & Staff
Paul Adams, M.M.Ed.,
Louisiana State University
Assistant Professor of Music – Brasswinds,
Arranging
Department of Visual and Performing Arts
Hamm Fine Arts Building,
Suite 325
[email protected]
(757) 823-8567
William Beathea, M.A.,
Eastern Illinois University
Assistant Professor of Music – Percussion
Director of Bands
Suite 431
[email protected]
(757) 823-8520
Choni Ashley, M.S. AJS
University of Phoenix
Facilities Coordinator/Office Manager for the
Department of Bands
Suite 215
[email protected]
(757) 823-2633
Rogers Brown, M.M.,
University of Michigan
Adjunct instructor of Music –
Music Technology
Suite 225
[email protected]
(757) 823-9267
10
Geraldine Boone, M.A.,
Eastman School of Music
Instructor of Music – Composition, Theory
Suite 415
[email protected]
(757) 823-9112
LaTonya Butts, BBA,
Averett University
Administrative and Office Specialist III
Suite 111
[email protected]
(757) 823-8544
Terry Butler, M.M.,
Norfolk State University
Instructor of Music – Sight-Singing and Ear
Training, Choir, Piano
Suite 315
[email protected]
(757) 823-9521
Sam Dorsey, Ph.D.,
The Catholic University of America
Professor of Music – Graduate Coordinator,
Guitar, Music History
Suite 501
[email protected]
(757) 823-8359
11
Peter DuBeau, M.M.,
University of Michigan
Brasswinds
Suite 605
[email protected]
(757) 823-8544
Frank Elliott, M.M.,
Instructor of Music – Humanities, Secondary
Piano
Suite 525
[email protected]
(757) 823-8197
Bridgid Eversole, D.M.A.,
The Catholic University of America
Assistant Professor of Music – Voice, Diction,
Theory
Suite 401
[email protected]
(757) 823-8575
Gregory Gardner, M.M.,
Howard University
Instructor of Music – Voice, Music
Appreciation
Suite 529
[email protected]
(757) 823-8581
12
Susan Ha, D.M.A.,
University of Cincinnati College-Conservatory of
Music
Assistant Professor of Music – Piano, Theory
Suite 531
[email protected]
(757) 823-8582
Margie Haynes, M.M.,
Instructor of Music – Humanities, African
American Music
Suite 201
[email protected]
(757) 823-2727
Carl W. Haywood, D.M.A.,
University of Southern California
Chair, Department of Visual and Performing Arts
Director, Division of Music
Director of Choral Activities
Professor of Music – Conducting, Organ
Hamm Fine Arts Building, Suite 111
[email protected]
(757) 823-8544
Eric Jackson, M.F.A,
Middle Tennessee State University
Music Technology
Suite 225
[email protected]
(757) 823-9267
13
Anastasia Migliozzi, M.F.A,
Rice University-Shepherd School of Music
Strings
Suite 111
[email protected]
(757) 823-8544
Amelia Ross-Hammond, Ph.D.,
University of Denver
Professor of Music – Humanities, Music
Appreciation
Suite 433
[email protected]
(757) 823-8568
Alan Reese, M.F.A,
Brasswinds, Theory
Suite 613
[email protected]
(757) 823-8544
Matthew Russell, D.M.A.,
Ohio State University
Assistant Professor of Music – Music
Education, Music History, Piano
Suite 513
[email protected]
(757) 823-8521
14
Stephanie Sanders, M.M.,
University of Houston
Assistant Professor of Music – Woodwinds, Jazz
Ensemble
Suite 535
[email protected]
(757) 823-8360
Patricia Nixon, D.M.A.,
Shenandoah Conservatory of Music Shenandoah University
Assistant Professor of Music – Voice, Vocal
Pedagogy, African American Music
Suite 301
[email protected]
(757) 823-8577
DeVaughn Scott-Smith, M.M.,
Instructor of Music –
Woodwinds, Music Education
Suite 527
[email protected]
(757) 823-9180
Gerald Thompson, M.M.,
Instructor of Music –
Music Technology
Suite 527
[email protected]
(757) 823-9267
15
Administrative Chart
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DIVISION OF MUSIC
Dr. Carl Haywood, Director
(757) 823-8544
BACHELOR OF MUSIC
The Division offers one undergraduate degree with two emphases and one graduate degree with three
concentrations. The Bachelor of Music in Music Education is designed to prepare teachers of music in elementary
and secondary schools. The program includes theoretical and applied music studies, general studies, music
history, literature, methodology, and practicum with concentration in Voice, Keyboard and Band/Orchestral
instruments.
The Bachelor of Music with an Emphasis in Media is designed to expand the career preparation of students by
providing knowledge, skills, and practical experience central to the needs of the music industry as represented by
the broadcast and recording media. The program includes courses in Music and Mass Communications.
Eligibility to major in music is determined by the Music faculty on the basis of musical background and experience,
results of auditions and tests, and general qualifications to pursue music as a major field. The Music Department
is an accredited institutional member of the National Association of Schools of Music.
UNDERGRADUATE ADMISSION TO MUSIC
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All students who desire entry into programs in music must audition. The audition can be arranged by contacting the music
office or any music faculty member. Upon acceptance into the University, the candidate’s request to enter Pre – Music is
granted conditionally by the Office of Admission. However, final approval is granted by the Department of Music.
At freshman orientation, diagnostic examinations in music fundamentals and sight-singing, an audition on a principal
instrument (if not previously auditioned), and a piano placement examination is conducted. The document Auditions and
Preliminary Tests in Music on the Division of Music website should be reviewed prior to freshman orientation.
Consequently, approved candidates are enrolled in the Pre – Music Curriculum. Taken during the first semester of
enrollment, these courses are utilized to canvass the potential of the candidate to fulfill the requirements of the Bachelor
of Music (B. M.) curriculum. The courses in the Pre – Music Curriculum are also a part of the Bachelor of Music degree.
Pre – Music Curriculum
Course Number
Course
Hours
MUS 140
MUS 125
MUS 100B/MUS 121B
MUS 110
ENG 101
IUL 101
MTH 103
Fundamentals of Music
Applied Major/Recitals
Applied Minor
Ensemble
English
Introduction to University Life
Contemporary Math
3
2
1
1
3
3
3
_____
Total Hours 16
If the Diagnostic Examination is completed successfully, the sequence below is taken.
Course Number
MUS 145
MUS 141
MUS 125
MUS 100B/MUS 121B
MUS 110
ENG 101
IUL 101
MTH 103
Course
Hours
Harmony and Keyboard
Sight Singing and Ear Training
Applied Minor
Ensemble
English
Contemporary Math
2
2
2
1
1
3
3
3
_____
Total Hours 17
Following mid-semester course examinations, a committee comprised of the student’s major teacher, theory instructor,
and ensemble director will provide a preliminary recommendation to the Director of the Division for program (B. M.)
admission. Final approval is forwarded to the Chair by the Committee upon the successful completion of the pre-music
track.
18
Bachelor of Music in Music Education -- Instrumental/ Keyboard/ Vocal
CURRICULUM
THIRD YEAR
FIRST YEAR
COURSE
ENG 101
ENG 102
MTH 103
MUS 110
MUS 111
MUS 121
MUS 122
MUS 125
MUS 126
MUS 131
MUS 132
MUS 141
MUS 142
MUS 145
MUS 146
PED 100
IUL 101
COURSE TITLE
Communication Skills I
Communication Skills II
Mathematics in General
Education
Ensembles*
Ensembles*
Applied Minor
Applied Minor
Applied Major /Recitals
Music Literature**
Music Literature**
Fundamentals of Fitness for
Life
TOTAL HOURS REQUIRED
HOURS
3
3
3
1
1
1
1
2
2
2
2
2
2
2
2
1
3
33
SECOND YEAR
COURSE
CLM 165
HED 100
MUS 151
MUS 210
MUS 211
MUS 221
MUS 222
MUS 225
MUS 226
MUS 241
MUS 242
MUS 245
MUS 246
MUS 260
MUS 271
MUS 272
MUS 161
EDU 201
PSY 228
ENG 299
* ENSEMBLES
COURSE TITLE
Computer Literacy for
Musicians
Personal and Community
Health
Elementary Conducting
Ensembles*
Ensembles*
Applied Minor
Applied Minor
Band Instrument
Survey(Vocal/ Keyboard)/
MUS 261 Percussion Class
(Instrumental)
Vocal Diction (Vocal and
Keyboard)/ MUS 361
Woodwind Class
(Instrumental)
Vocal Diction (Vocal)/ MUS
273 Voice Class (Instrumental/
Keyboard)
String Class (Instrumental) or
Music Elective (Keyboard/
Vocal)
Foundations of Education
Developmental Psychology
Writing Competency Exam
HOURS
3
2
2
1
1
1
1
2
2
2
1
2
2
1
1
1
COURSE
BIO 100
BIO
100L
HIS 100
MUS 234
MUS 310
MUS 311
MUS 325
MUS 326
MUS 331
MUS 332
MUS 346
MUS 351
MUS 362
MUS
383I/
MUS
383V
MUS
384I/
MUS
384V
SED 405
COURSE TITLE
Biological Science or SCI
101
Biological Science Lab or
SCI 100L
History of World Societies,
Part 1 or HIS 101 or HIS
102 or HIS 103
African American Music
Ensembles*
Ensembles*
Music History++
Music History++
Composition
Advanced Conducting
Brasswind Class
(Instrumental or music
elective, Vocal/ Keyboard)
Curriculum and
Instructional Procedures for
Teaching Music in the
Public Schools (Vocal or
Instrumental)
Curriculum and
Instructional Procedures for
Teaching Music in the
Public Schools (Vocal or
Instrumental)
Reading in the Content
Area
TOTAL HOURS
REQUIRED
HOURS
3
1
3
3
1
1
2
2
2
2
3
2
1
2
2
3
33
FOURTH YEAR
COURSE
COURSE TITLE
HOURS
MUS 410 Ensemble*
1
MUS 425 Applied Major /Recitals
2
MUS 426 Applied Major /Recitals***
2
SED 499
Directed Teaching
12
** 154
Satisfies
the core
humanities requirement.
PHY
Physics
of Music
3
++285
In addition
to MUS
234, satisfies the core3
SCM
Principles
of Speech
cultural requirement.
Classroom and Behavior
EDU 381
3
Management
Introduction to Sociology or
SOC 110
3
SOC 100 or SOC 101
TOTAL HOURS
29
REQUIRED
***Senior Recital or Senior Jury Required
SUMMARY OF GRADUATION REQUIREMENTS
1
3
3
0
32
The minimum ensemble requirement for Music Education majors who play band
instruments is four semesters of University Band and three semesters of other instrumental
ensembles such as jazz ensemble/combo, or percussion, woodwind, or brass ensemble.
The minimum ensemble requirement for vocal Music Education majors is five semesters
of Concert Choir and two semesters of Vocal Jazz Ensemble.
SUBJECT AREA
General Education Core
Major Requirements
Electives
Other Requirements
TOTAL DEGREE HOURS REQUIRED
HOURS
40
87
0
127
** Satisfies
the core
humanities
requirement.
++ In addition
to MUS 234,
satisfies the
core cultural
requirement.
19
Bachelor of Music with an Emphasis in Media
CURRICULUM
FIRST YEAR
COURSE
SECOND YEAR
COURSE TITLE
HOURS
COURSE
COURSE TITLE
HOURS
ENG 101
Communication Skills I
3
BIO 100
Biological Science
3
ENG 102
3
BIO 100L
Biological Science Lab
1
MUS 110
Communication Skills II
Fundamentals of Fitness for
Life
Ensembles *
MUS 111
Ensembles *
1
MUS 121
Applied Minor
1
MUS 122
Applied Minor
1
MUS 125
2
MUS 126
2
PED 100
MUS 131
Music Literature**
1
1
2
MUS 132
Music Literature**
2
MUS 141
2
MUS 142
2
CLM 165
MTH 103
MCM 211
Computer Literacy for
Musicians
Mathematics in General
Education
Society and Mass
Communications++
3
3
3
MUS 240
Progressive Harmony
3
MUS 210
Ensembles*
1
MUS 211
Ensembles*
1
MUS 241
Sight-Singing and Ear
Training
2
MUS 221
Applied Minor
1
Applied Minor
1
MUS 145
Harmony and Keyboarding
2
MUS 222
MUS 146
Harmony and Keyboarding
2
MUS 225
2
IUL 101
3
MUS 226
2
30
MUS 151
Elementary Conducting
2
THIRD YEAR
COURSE
MUS 265
MUS 234
MUS 310
MUS 311
MUS 243
MUS 325
MUS 326
MUS 331
MUS 332
MUS 335
MUS 346
PHY 154
SCM 285
HED 100
COURSE TITLE
Practical Applications of
Electronic Music (Midi)
African American Music++
Ensembles*
Ensembles*
Melody and Improvisation
Music History
Music History
Jazz Literature and Criticism
Composition or MUS 247
Twentieth Century
Physic of Music
Principles of Speech
HOURS
3
3
1
1
3
2
2
2
2
3
3
3
3
31
The two semesters of MUS 131 and MUS 132, and MUS 234 serve as the
Humanities requirement in the General Education Core. MCM 211 also serves
as the Social Science requirement in the General Education Core.
*ENSEMBLES
The minimum ensemble requirement for instrumental students whose major is Bachelor
of Music with an Emphasis in Media is five consecutive semesters in the University Jazz
Ensemble and two semesters of either Symphonic/Concert Band or small instrumental
ensembles. If a student enters this curriculum below the level of proficiency required to
enroll in the University Jazz Ensemble, he or she can use no more than two ensemble
credits in the Jazz Laboratory Band toward fulfilling ensemble requirements.
The minimum ensemble requirement for vocal students whose major is Bachelor of Music
with an Emphasis in Media is met by four semesters of Concert Choir and three semesters
of Vocal Jazz Ensemble.
HIS 100
ENG 299
Personal and Community
Health
U.S. History (or HIS 101,
102, 103)
2
3
Writing Competency Exam
0
33
** Satisfies the core humanities requirement.
++ In addition to MUS 234, satisfies the core cultural requirement.
FOURTH YEAR
COURSE
MCM
261
MUS 365
MUS 440
MUS 366
MUS 410
MUS 367
MUS 425
MUS 426
MUS 448
MCM
496
MUS 493
COURSE TITLE
HOURS
Introduction to Media Writing
3
Recording Music Production
Legal Protection of Music &
Musicians
Music Video
Ensembles*
Pro tools
Applied Major/Recitals***
Arranging
3
Internship
3
3
3
1
3
2
2
2
Internship
3
28
***Senior Recital or Senior Jury Required
SUMMARY OF GRADUATION REQUIREMENTS
SUBJECT AREA
General Education Core
Major Requirements
Electives
Other Requirements
TOTAL DEGREE HOURS REQUIRED
HOURS
40
82
0
122
20
BACHELOR OF MUSIC COURSE DESCRIPTIONS
APPLIED MINOR
One Credit Each
100B
Piano
MINOR COURSE: Open to non-majors by permission of Department only.
Preparatory course for students who do not qualify (on audition) for MUS 121. (Meets one hour weekly.)
ENSEMBLE
110, 111
One Credit Each
Ensembles available, Instrumental: University Bands; Small Ensembles: jazz, percussion; Vocal: Concert Choir and Jazz Choir.
Required for Music Majors according to curriculum pursued. Open to non-majors by audition. Each course carries One Credit
Hour.
APPLIED MINOR
121A, 122A
One Credit Each
VOICE
Emphasis on correct vocal production and exploration of a variety of representative vocal literature.
APPLIED MINOR
121B, 122B
One Credit Each
PIANO
PREREQUISITE: Placement or MUS 100
Study of major scales; technical exercises and studies chosen from Schmitt, Hanon, Czerny Liebling, Burgmuller, Op. 100 Oxford
Piano Course for Older Beginners, or the equivalent; selected short compositions in various keys and rhythms; sight-reading.
APPLIED MINOR
121C, 122C
One Credit Each
ORGAN
PREREQUISITE: Placement
Plan of study to be followed will be similar to the foregoing outline, but the expected rate of completion will be about one-half that
of the organ major. To receive credit for MUS 121 (Organ), for instance, the student would be required to complete approximately
one-half of the material outlined for MUS 125 (Organ); completion of MUS 122 (Organ) would require the completion of all
material outlined for MUS 125 (Organ).
APPLIED MINOR
121D, 122D
One Credit Each
BRASS
Emphasis on correct tone production and playing techniques. Exposure to a variety of literature for the particular minor
instrument.
APPLIED MINOR
121E, 122E
One Credit Each
WOODWIND
instrument.
21
APPLIED MINOR
121F, 122F
One Credit Each
STRINGS
instrument.
APPLIED MINOR
PERCUSSION
121G, 122G
One Credit Each
instrument.
**APPLIED MAJOR/RECITALS
125A, 126A
Two Credits Each
VOICE
Mastery of vocal exercises for the development of breath control, legato singing, tone placement, diaphragmatic support and
agility; emphasis on building musicianship, compositions of moderate difficulty, English text. Attendance and participation in
seminars, workshops, recital hour, and on/off-campus concerts.
APPLIED MAJOR/RECITALS
125B, 126B
Two Credits Each
PIANO
Study of major scales (24 octaves), hands together, minor scales, hands separate; selected studies of Czerny, Hanon,
Burgmuller, sonatinas of Clementi, Kuhlau, Beethoven; seventh arpeggio. Attendance and participation in seminars, workshops,
recital hour, and on/off-campus concerts.
125C, 126C
Two Credits Each
ORGAN
Study of basic organ techniques as outlined in Gleason’s “Methods of Organ Playing,” or David Johnson’s “Instruction Book for
Beginning Organists”; pedal scales; hymn tunes; selected compositions of the level of Bach’s “Eight Little Preludes and Fugues,”
the “Orgelbuchlein;” and pre-Bach compositions. Attendance and participation in seminars, workshops, recital hour, and on/offcampus concerts.
125D, 126D
Two Credits Each
BRASS WINDS
Study of the fundamentals of trumpet playing including: breath control, proper attack, formation of embouchure; elementary
exercises from Araban, Complete Conservatory Method, Henna, 40 Progressive Etudes, Clark Technical Studies, and Coin, Lip
flexibilities, Book I; major and minor scales and arpeggio, chromatic scale. Solo literature: Haydn, Trumpet Concert in Eb. 217d
Movement; Kennan, Sonata for Trumpet and Piano; Contest Album; etc. Trombone studies: Slamagg Studies, Rochut Melodious
Studies, Remington Warmups; Arban’s Complete Method, Solos on the level of Andante et Allegro by Baret; scales and technical
exercises as listed for trumpet. Tuba studies: scales and technical exercises as listed for trumpet; Foundation of Tuba Playing
by Bell; solos on the level of “Honor and Arms” by Handel. French Horn: Foundation of French Horn Playing by Farces; solos on
the level of “Panis Angelicas” by Franck. Attendance and participation in seminars, workshops, recital hour, and on/off-campus
concerts.
22
125E, 126E
Two Credits Each
WOODWINDS
Emphasis on basic problems of embouchure, fingering, breathing and tonguing facility, and control; selected studies from Klose,
Method, Books II and III; Rose, 40 Studies; Perier, Etudes de genres et interpretation; Cavallini Caprices; Recital Literature For
Clarinet, Stubbins, Vols. I, II, and III; all major, pure minor, harmonic minor, and melodic minor scales, also chromatic; scales in
3rds; dominant seventh arpeggios. Attendance and participation in seminars, workshops, recital hour, and on/off-campus
concerts.
125F, 126F
Two Credits Each
STRING
Study of basic violin technique, lefthand position, and bow-arm techniques; exercises in first position; two octave major scales in
first position; exercises from Wohlfahrt Method, Opus 38, and Whistler’s Introduction to the Positions, Book I; Rayser Etudes;
Simandl Etudes; solo literature from Vivaldi, Bach, Corelli. Attendance and participation in seminars, workshops, recital hour,
and on/off-campus concerts.
125G, 126G
Two Credits Each
PERCUSSION
Rudiment studies from the Gardner’s Complete Method for Percussion; selected snare drum solos from the HaskellHarr
Collection; major scales on marimba with alternating sticks; study of other instruments of the percussion family. Attendance and
participation in seminars, workshops, recital hour, and on/off-campus concerts.
COMPUTER LITERACY FOR MUSICIANS
165
Three Credits
A blended course involving the study of music and computer integration including music notation software.
MUSIC LITERATURE
131, 132
Two Credits Each
Foundation in the materials and history to identify music styles and genres, major composers and their works, and familiarity with
historical periods in music.
MUSIC FUNDAMENTALS
140
Three Credits
Study of the fundamentals of music and elementary theory. Does not count towards graduation. (For students who do not pass
the Theory Placement Test)
SIGHT-SINGING AND EAR TRAINING
141, 142
Two Credits Each
Study of Theory I, II including sight-singing; melodic and harmonic dictation; scales, intervals and triads; and the analyzation of
melodies. Exploration of the use of chords of the ninth, eleventh, and thirteenth. Special emphasis on voice leading and chord
sonorities.
HARMONY AND KEYBOARD
145, 146
Two Credits Each
Study of Theory I, II including part writing, keyboard harmony, and harmonic analysis from triads and their inversions through
nonharmonic tones, the dominant seventh chord and its inversions, secondary dominant, and other chords. (Meets three hours
per week.)
23
ELEMENTARY CONDUCTING
151
Two Credits
PREREQUISITES: MUS 141, 145
Introduction to the art of conducting with emphasis on mastery of fundamental beat patterns.
STRING CLASS
161
One Credit
Development of the skills necessary for teaching instruments of the string family on the elementary and intermediate levels
through practical experience. (Meets two hours per week.)
ENSEMBLES
210, 211
One Credit Each
APPLIED MINOR
221A, 222A
One Credit Each
VOICE
Emphasis on correct vocal production and exploration of a variety of representative vocal literature.
APPLIED MINOR
*221B, 222B
One Credit Each
PIANO
Study of major and minor scales; arpeggios, technical exercises and studies continued; selected compositions; sight-reading,
transposition, harmonization of simple melodies; folk and patriotic songs. Passage of the Piano Facility Examination required.
APPLIED MINOR
221C, 222C
One Credit Each
ORGAN
Plan of study to be followed will be similar to the foregoing outline, but the expected rate of completion will be about one-half that
of the organ major. To receive credit for MUS 121 (Organ), for instance, the student would be required to complete approximately
one-half of the material outlined for MUS 125 (Organ); completion of MUS 122 (Organ) would require the completion of all
material outlined for MUS 125.
APPLIED MINOR
221D, 222D
One Credit Each
BRASS
instrument.
APPLIED MINOR
221E, 222E
One Credit Each
WOODWINDS
instrument.
APPLIED MINOR
221F, 222F
One Credit Each
STRINGS
instrument.
APPLIED MINOR
221G, 222G
PERCUSSION
One Credit Each
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instrument.
225A, 226A
Two Credits Each
VOICE
Continuation of technical development; repertoire including English songs (Purcell, Haydn, Handel, Carpenter, Quilter, Head);
songs from the Anthology of Italian Song (Schirmer) or Classic Italian Song (Ditsun). Attendance and participation in seminars,
workshops, recital hour, and on/off-campus concerts.
225B, 226B
Two Credits Each
PIANO
Study of major scales (4 octaves); minor scales (2 octaves), hands together, studies of the level of Czerny, Hanon, Heller,
sonatinas or sonatas of Haydn, Mozart, or Beethoven; studies from Bach, Little Preludes and Fugues or Two Part Inventions;
selected compositions of other periods. Passage of the Piano Facility Examination required. Attendance and participation in
225C, 226C
Two Credits Each
ORGAN
Continued technical study; pedal scales through all minor scales; composition selected from shorter works by the forerunners of
Bach, “Bach Preludes and Fugues” (G. Schirmer, ed., Vol. II), the sonatas of Mendelssohn, works by major composers such as
Franck and Vierne, and shorter contemporary works. Attendance and participation in seminars, workshops, recital hour, and
on/off-campus concerts.
225D, 226D
Two Credits Each
BRASS WINDS
Further development of fundamentals; use of song literature to develop style and phrasing; continued work in Arban, Clark, Coin
and Hering, 32 Progressive Etudes; Introduction to transposition; whole tone scales; dominant seventh and diminished; selected
compositions from various periods; easy sight-reading; harmonization using primary triads; melodic transposition. Attendance
and participation in seminars, workshops, recital hour, and on/off-campus concerts.
225E, 226E
Two Credits Each
WOODWINDS
Emphasis on technical development, finger all tone control; Giampieri Caprices; Kroepsch Daily Studies, major scales in thirds.
Attendance and participation in seminars, workshops, recital hour, and on/off-campus concerts.
225F, 226F
Two Credits Each
STRINGS
Bow and finger exercises; two-octave major and melodic minor scales up to and including third position; selected studies from
Wohlfahrt’s Foundation Studies for the Violin; solo literature using the first three positions. Attendance and participation in
225G, 226G
Two Credits Each
PERCUSSION
Continued study of rudiments; further study of other percussion instruments; major and minor scales in octaves on marimba;
major and minor arpeggio and two-stick marimba solos. Selected snare drum solos from HaskellHarr. Attendance and
25
AFRICAN AMERICAN MUSIC
234
Three Credits
Survey of the music created and performed by African Americans as an ethnic group and as individuals from the period of slavery
to the present. Emphasis on the types and elements of African American folk music including evidences and psychological factors
that have impinged upon the development of African American Music in the United States and other Americas.
PROGRESSIVE HARMONY
240
Three Credits
Practice in writing and analyzing contemporary chord progressions with emphasis on keyboard skills, ear-training, and creative
writing.
SIGHT-SINGING AND EAR TRAINING
241, 242
Two Credits Each
PREREQUISITE: MUS 142
Study of aural non-diatonic exercises, advanced sight-singing, advanced melodic and harmonic dictation.
Melody and Improvisation
243
Three Credits
Provides guidelines for the disciplines of jazz improvisation through the use of melodic, harmonic, rhythmic and structured
procedures.
HARMONY AND KEYBOARD
245, 246
Two Credits Each
PREREQUISITE: MUS 146
More advanced keyboard harmony and part writing, including modulation, augmented sixth chords, and the Neapolitan 6th chord.
Harmonic and formal analysis; writing for various combinations of instruments in the second semester. Arranging exercises.
(Meets three hours per week.)
MUSIC IN THE TWENTIETH CENTURY
247
Three Credits
Study of the analytical and historical aspects of music written in the twentieth century. Emphasis on various techniques used in
the composition of twentieth century music, including the socio-historical influences relating to the outstanding composers of this
time.
BAND INSTRUMENT SURVEY
260
One Credit
Introduction to the principles of playing musical instruments including the rudiments of tone production and performance
techniques of woodwind, brasswind, and percussion instruments. (Meets two hours per week.)
PERCUSSION CLASS
261
One Credit
Development of the skills necessary for teaching instruments of the percussion family on the elementary and intermediate levels
through practical experience. (Meets two hours per week.)
PRACTICAL APPLICATION IN ELECTRONIC MUSIC
265
Three Credits
Introduction to various computer software used in electronic music including hands-on instruction on synthesizers. Emphasis on
MIDI, sequencing and composition with computer software.
26
VOCAL DICTION
271
One Credit
Study and drills on English and Italian phonetics with application to singing. General survey with emphasis on usage in music
literature. (Meets two hours per week)
VOCAL DICTION
272
One Credit
Study and drills on German and French phonetics with application to singing. General survey with emphasis on usage in music
literature. (Meets two hours per week)
VOICE CLASS (Instrumental & Keyboard)
273
One Credit
Study of vocal techniques and survey of solo and choral literature designed to prepare students in training voices in the public
schools and developing their voices. (Meets two hours per week.)
MUSIC APPRECIATION
301
Three Credits
Survey of the major forms and styles of music with emphasis on developing awareness and understanding of representative
music literature including the relation of music to other aspects of history and the culture of Western civilization.
ENSEMBLE
310, 311
One Credit Each
325A, 326A
Two Credits Each
VOICE
Advanced study of greater technical difficulty; development of interpretation; repertory to include Italian songs of greater
complexity; lieder of Schumann, Schubert, Wolf; French songs of Hahn, Godard, Debussy; contemporary songs in English,
moderately difficult oratorio and operatic literature; vocal exercises of Panofka; Marchesi, Lamperti, and others. Attendance and
325B, 326B
Two Credits Each
PIANO
Major and minor scales and arpeggios at increased speeds; scales in thirds; continued technical studies with exercises
transposed to various keys; sight-reading of more difficult accompaniments; compositions of the level of Bach Two and Three
Part Inventions, French and English Suites, Well Tempered Clavier, sonatas of Haydn, Mozart, Beethoven; selected
compositions from Romantic and contemporary periods. Attendance and participation in seminars, workshops, recital hour, and
on/off-campus concerts.
325C, 326C
Two Credits Each
ORGAN
Technical study continued as needed; repertory selected from each of the major periods of organ composition with particular
emphasis on proper styles in the following: pre-Bach, J.S. Bach, Romantic, contemporary European and American. Attendance
and participation in seminars, workshops, recital hour, and on/off-campus concerts.
325D, 326D
Two Credits Each
BRASS WINDS
Emphasis on style, techniques, and range, continued work in Araban, Clark, Coin; Brandt, Orchestra Atolls; Bousquet, 36
Celebrated Studies; transposition from Caffarelli, 100 Studi Melodici. Solo literature: Haydn, Trumpet Concerto in Eb; Hummel,
Trumpet Concerto; Damase, Hummel, etc. Attendance and participation in seminars, workshops, recital hour, and on/off-campus
concerts.
27
325E, 326E
Two Credits Each
WOODWINDS
Emphasis on performance repertoire; Recital Literature for clarinet, Stubbins, Vols. I, II, III, IV; one selection from the standard
sonata repertory; all scales, major, minor and chromatic; diminished arpeggios. Attendance and participation in seminars,
workshops, recital hour, and on/off-campus concerts.
325F, 326F
Two Credits Each
STRINGS
Studies from Kreutzer Etudes 123; extended scales and arpeggio; double stops, study of concertos such as Mozart and Villa, all
sonatas such as Handel and Vivaldi. Attendance and participation in seminars, workshops, recital hour, and on/off-campus
concerts.
325G, 326G
Two Credits Each
PERCUSSION
Study of all scales in thirds and sixths on marimba; selected three-stick marimba solos; timpani solos and difficult snare drum
solos from Haskel Harr. Attendance and participation in seminars, workshops, recital hour, and on/off-campus concerts.
MUSIC HISTORY
331,332
Two Credits Each
PREREQUISITES: MUS 132, 242, 246
Chronological survey of the development of music in the Western world from its beginnings through contemporary idioms
including illustration and analysis of styles, forms, and techniques characteristic of main periods in the history of music. (Meets
three hours per week)
JAZZ LITERATURE AND CRITICISM
335
Three Credits
Introduction to basic performance in the field of jazz and its derivatives including popular music, tunes from musical stage shows,
themes from motion pictures and television shows, as well as jazz classics. Emphasis on a critical analysis of the compositions
and artists’ performances. Knowledge of structural aspects of musical theory required.
JAZZ HISTORY
336
Three Credits
In depth study of jazz from the musical, historical, and social points of view, giving recognition to the artists responsible for
innovations within each historical era.
COMPOSITION
346
Three Credits
PREREQUISITES: MUS 242, 246
Presentation of techniques of original music compositions written under the guidance of the instructor. Emphasis on techniques
of form, harmony, orchestration, and independence. Studies in arranging.
ADVANCED CONDUCTING
351
Two Credits
PREREQUISITES: MUS 151, 242, 246
Study of conducting technique with particular attention to interpretation, technique of choral or instrumental conducting, tempo,
transposition, diction, articulation, nuance, seating of choral or instrumental groups, testing voices, and auditioning. Conducting
experience with laboratory group required.
28
WOODWIND CLASS
361
One Credit
Practical development of the skills necessary for teaching instruments of the woodwind family on the elementary and intermediate
levels. (Meets two hours per week.)
BRASSWIND CLASS
362
One Credit
Practical development of the skills necessary for teaching instruments of the brasswind family on the elementary and intermediate
levels. (Meets two hours per week.)
RECORDING AND MUSIC PRODUCTION
365
Three Credits
Study of the operation of consoles, tape machines, microphones, and signal processing equipment including extensive in-studio
experience in recording and mixing music as well as commercial quality production and editing.
MUSIC VIDEO
366
Three Credits
Study of music video making through shooting with the camera and editing videotapes to recorded music. Extensive video
editing suite experience resulting in the creation of a high quality production.
PRO TOOLS
367
Three Credits
Course is computer software instructional training sponsored by Digidesign that supports hands-on digital audio editing. Pro
Tools 101 is designed to prepare students for intermediate digital audio editing in home and commercial studios.
AVID XPRESS
368
Three Credits
This course is designed to teach students how to edit professional-quality video programs on Avid Xpress Pro or Avid Express
DV, with hands-on practice, using documentary and dramatic footage. The course will provide editing skills that build successful
careers in television, film, and broadcast news.
PRO TOOLS 110
369
Three Credits
PREREQUISITE: MUS 365, MUS 367
This course is the second level of the four perquisite courses that lead to certified operator status offered by Digidesign. The
course covers all advance techniques of post-production digital audio editing.
CURRICULUM AND INSTRUCTIONAL PROCEDURES IN TEACHING MUSIC IN THE PUBLIC SCHOOLS (Instrumental)
383I
Two Credits
PREREQUISITES: PRAXIS I, ACT/SAT, Junior or Senior Standing
Study of the principles and procedures for conducting a music program in an elementary school including organization,
administration, and supervision of the music program; motivation and techniques of teaching; methods and materials. Special
emphasis on multicultural content and appreciation; developing competencies in identifying and referring special students.
CURRICULUM AND INSTRUCTIONAL PROCEDURES IN TEACHING MUSIC IN THE PUBLIC SCHOOLS (Vocal)
383V
Two Credits
Study of the principles and procedures for conducting a music program in an elementary school including organization,
29
CURRICULUM AND INSTRUCTIONAL PROCEDURES IN TEACHING MUSIC IN THE PUBLIC SCHOOLS (Instrumental)
384I
Two Credits
Study of the principles and procedures for conducting a music program in a secondary elementary school including organization,
CURRICULUM AND INSTRUCTIONAL PROCEDURES IN TEACHING MUSIC IN THE PUBLIC SCHOOLS (Vocal)
384V
Two Credits
Study of the principles and procedures for conducting a music program in a secondary elementary school including organization,
ENSEMBLES
410, 411
One Credit Each
425A, 426A
Two Credits Each
VOICE
Demonstration of sufficient technical mastery to permit the performance of an extensive repertoire of various schools and
nationalities including art songs and selections from oratorio or operatic literature, Attendance and participation in seminars,
workshops, recital hour, and on/off-campus concerts. Preparation and completion of senior recital or senior jury.
425B, 426B
Two Credits Each
PIANO
Study of all major and minor scales, arpeggios, and studies executed with good technical mastery at approximately 100 to 120
MM quarter note; advanced sight-reading; compositions representative of advanced literature from different periods. Attendance
and participation in seminars, workshops, recital hour, and on/off-campus concerts. Preparation and completion of senior recital
or senior jury.
425C, 426C
Two Credits Each
ORGAN
Continued study of hymn playing, style, ornamentation, organ construction, as applicable to music by the Pre-Bach masters;
Baroque, Romantic, and contemporary composers; Attendance and participation in seminars, workshops, recital hour, and on/offcampus concerts. Preparation and completion of senior recital or senior jury.
425D, 426D
Two Credits Each
BRASS WINDS
Continued emphasis on style, technique, range, transposition, exercises from Arban, Coin, Brandt, Caffarelli, and Charlier, 26
Etudes Transcondantes; orchestra literature from Bartold, Orchestral Excerpts, Vol. 15. Solo literature: Trumpet Tune; Clark;
Trumpet Voluntary; etc. Attendance and participation in seminars, workshops, recital hour, and on/off-campus concerts.
Preparation and completion of senior recital or senior jury.
425E, 426E
Two Credits Each
WOODWINDS
Transportation at major 2nd up and minor 2nd down; major and pure minor scales in 3rds; tonic, dominant seventh, and
diminished arpeggios; review of previous scales and other technical requirements; polished performances of compositions from
30
MUS 325, 326 and other compositions of different styles. Sight-reading of advanced literature. Attendance and participation in
seminars, workshops, recital hour, and on/off-campus concerts. Preparation and completion of senior recital or senior jury.
425F, 426F
Two Credits Each
STRINGS
Studies from Kreutzer Etudes 2442; Schradieck’s Technical Violin School; Attendance and participation in seminars, workshops,
recital hour, and on/off-campus concerts. Preparation and completion of senior recital or senior jury.
425G, 426G
Two Credits Each
PERCUSSION
Three or four stick marimba solos from HaskellHarr, Marimba solos; timpani solos using three and four timpani; difficult snare
drum solos; preparation and completion of senior recital or senior jury.
LEGAL PROTECTION FOR MUSIC AND MUSICIANS
440
Three Credits
Survey of the field of music law including performance and recording royalties, contract, performing rights organization, musical
copyright procedures, and publication.
ARRANGING
448
Two Credits
PREREQUISITES: MUS 242, 246 or Permission of the Instructor
Scoring for small ensembles (vocal and choral) and for full band and orchestra. Involves practical application of the knowledge
of transposing instruments as well as applied knowledge of the purpose and the range of each band and orchestral instrument.
*PIANO FACILITY EXAMINATION
All students majoring in Music must pass a Piano Facility Examination as a requirement for the bachelor’s degree. This
examination is a prerequisite to Directed Teaching. The Facility Examination tests the students’ ability to use the piano as a tool
within the framework of his/her professional application. The examination is scheduled at the end of each semester and during
the summer session. The passing of this examination is required for successful completion of MUS 222 and MUS 226.
**Two Applied Major/Recitals may not be taken within the same semester.
31
MASTER OF MUSIC
Dr. Sam Dorsey
Program Coordinator
(757) 823-8359
PURPOSE AND OBJECTIVES
The main purpose of the Master of Music program is
to enable its graduates to perform at levels of
competence and responsibility equal to the technical
and artistic demands of specialist or leadership roles
as they are defined within the professional discipline.
The program aims to do the following:
Encompass related areas of study,
Provide for the attainment of proficiencies requisite to
career advancement, and to further professional
study.
Specific objectives for each sequence are as
follows:
Music Education - to explore, through research and
practice,
pedagogical
and
performance
techniques applicable to leadership roles in a
variety of instructional settings.
Performance - to develop interpretive and technical
skills in applied music through selected concert
literature of advanced complexity as appropriate to
the medium and required by professional
standards of performance.
Theory-Composition - to develop the facility for
applying the science of musical structure and
analysis to the creative act, and to advance and
refine skills in critical analysis of available or selfcreated works.
In its total design, the program aims to do the
following:
1. Encompass related areas of study,
2. Provide for the attainment of proficiencies
requisite to career advancement, and to
3. Further professional study.
THE STUDENT
A student in the Master of Music degree program
must consult with the Music Division Graduate
Program Coordinator or advisor upon entry and
periodically thereafter, to ensure that he/she is
working consistently and accurately toward specific
curricular goals within the required time limits. Before
admission to analytical techniques courses, the
student must take a diagnostic examination in theory.
Before admission to degree status, the student must
take a diagnostic examination in music history. In
addition, an audition is required on the student's
principal instrument.
Specifically, the student must do the following:
1. Select one of the three sequences.
2. Complete eleven credit hours of prescribed core
courses.
3. Establish candidacy according to program
criteria.
4. Complete other required and elective course work
as specified by the selected sequence.
5. Select a terminal option involving related
examinations.
THE MUSIC FACULTY
The music faculty is qualified and competent to teach
in their respective areas. Doctoral degree holders as
well as experienced music practitioners with master’s
degrees represent an excellent faculty complement
that has been graduating competent music majors for
many years.
To ensure that the specific needs of graduate
students are met, the Music Faculty and Division
Chair select a Graduate Program Coordinator to be
responsible for all matters pertaining to the Graduate
School in the Music Division. The coordinator works
closely with the Division Chair, the Dean of the
College of Liberal Arts as well as with the Dean of the
Graduate School to discuss, examine, and develop
new strategies and initiatives to ensure that the
program remains current.
Specifically, the coordinator does the following:
1. Meets regularly with the Dean of the Graduate
School to discuss matters relating to the Music
Program.
2. Ensures an efficient registration process for
graduate students within the Division.
3. Ensures that student applications are reviewed
and the recommendations forwarded to the
Graduate School according to schedule.
4. Ensures that students with incomplete
applications are notified.
5. Assumes the responsibility for maintaining
accurate records within the Divisiont.
6. Assists in recommending courses and time
schedules for each semester.
32
7. Assists in recommending faculty to teach
courses.
8. Monitors new student orientation.
9. Assists in recruitment efforts.
ADMISSION REQUIREMENTS
Degree Status
Admission criteria to the Master of Music program are
in accordance with the Graduate Council of Norfolk
State University and the Admissions Committee of
the Music Division. The criteria for admission to
regular status are as follows:
1. A baccalaureate degree in music from an
accredited college or university. A foreign
student should possess equivalent credentials.
2. A minimum overall undergraduate grade point
average (G.P.A.) of 2.5 on a 4.0 scale.
3. Three letters of recommendation from persons of
professional status that are familiar with the
applicant's background and prior performance
in academic and/or musical activities (faculty
and/or employers).
A complete application file will include the following:
Upon completing nine hours of core courses in the
Master of Music curriculum at Norfolk State
University with a 3.00 average or above, the student
may petition for a change from non-degree to degree
status.
Candidates for admission may be requested to
attend a personal interview. If desired, an applicant
may also request an interview. Persons seeking
additional information or forms should call or write to
Admission Committee Chair
Master of Music Program
700 Park Avenue
Norfolk, Virginia 23504
Phone: (757) 823-9112
Transfer of Credit
A maximum of six credit hours may be approved by
the Admissions Committee as transfer credit from
another institution if the work represents courses
comparable to those offered in the Master of Music
curriculum in which the student has earned either "A"
or "B" grades. No work completed at another
institution more than five years prior to the student's
registration at Norfolk State University can be
transferred to this program. Decisions regarding
transfer of credit will be made by the Admissions
Committee.
1. Applications to Norfolk State University and the
Master of Music program.
2. Non-refundable application fee (certified check
or money order made payable to Norfolk State
University).
3. Three letters of recommendation.
4. A complete and official transcript from each
college and/or university attended.
5. Personal statement of professional interest and
goals. The personal statement is an important
part of the application for admission and should
be carefully prepared.
NOTE: All application materials should be received by October 1,
for consideration for the spring and summer semesters and March
1 for fall.
Non-Degree Status
Non-degree status is reserved for (1) applicants who
meet all requirements for regular admission, but who
do not seek to take courses leading to a degree, and
(2) applicants who meet all the general requirements
for admission, but whose overall undergraduate
academic average falls below the required 2.5 grade
point average.
A person with a baccalaureate degree may be
granted permission to take particular courses without
pursuing a graduate degree. The courses may be
taken on a credit or non-credit basis. If the applicant
chooses to apply for the Master of Music program
and is accepted, a maximum of six (6) hours with a
3.00 average or above taken by the student may be
applied toward degree requirements.
DIAGNOSTIC EXAMINATIONS AND
AUDITIONS
As a part of admission to degree status, full-time
and part-time applicants will be required to take
diagnostic examinations in music history and in
theory. These examinations are given for placement
purposes and normally do not constitute a basis for
actual admission. If the student is deficient in certain
areas, additional work will be required. The
Admissions Committee reserves the right to require
a student to take one or more undergraduate or
review courses, if needed.
An audition of twenty minutes duration is required
on the student’s principal instrument. Applicants
should prepare their auditions according to the
following guidelines:
Music Education/Performance Majors
Piano
A work by J. S. Bach or Scarlatti, a classical sonata,
and one or two compositions from the 19th and 20th
centuries.
Organ
Three or four works drawn from the Baroque period
and the 19th and 20th centuries. A typical program
might consist of a trio sonata movement or a prelude or
fugue by Bach, a sonata by Mendelssohn or a
comparable work by Franck, and a representative work
by Hindemith, Dupre, or Messiaen.
33
CANDIDACY
Voice
An Italian song, an aria from an opera or oratorio,
French Art Song, and a German Lied should be
performed. In addition, a work in English should be
chosen. All works should be performed in the original
language.
Guitar
Works including a major Baroque or twentieth
century piece, such as, but not limited to, any lute or
cello suite by J. S. Bach, the flute suites of S. Weiss,
the Partitia by Stephen Dogon, the Theme and
Variations or Sonatina by Lennox Berkley, the
Variations sur “Solia De Espana” et Fugue by Manuel
M. Ponce, or the Nocturnal, by Benjamin Britten.
Woodwind/Brasswind
Perform musically and fluently several compositions
from the various style periods. A brief listing of
representative works and technical requirements for
each wind instrument may be obtained from the
Music Department office.
Percussion
A high degree of snare techniques should be
demonstrated through such works as Wilcoxon’s
Swing Solo, Cirone’s Portraits in Rhythm, or any
excerpt from the standard symphonic literature.
Mallet percussion technique should be shown by the
performance of all major and minor scales and such
works as Creston’s Concerto for Marimba or
Goldenberg Etude. The tympani part of a Beethoven
symphony should also be played.
Theory/Composition Majors
Submission of a minimum of three compositions from
various media with at least one of the works for an
ensemble of four or more instruments and/or voices.
Tape recordings of the compositions may be
included.
A student in the Master of Music program may
petition the Department Graduate Committee for
candidacy upon (a) the successful completion of
fifteen credit hours, including the core courses, and
(b) the attainment of a 3.0 average or above. The
decision of the Committee will be forwarded to the
student and to the Graduate School.
Re-admission
Re-admission to the program is not automatic. After
an absence of a semester or longer, a former student
must apply for re-admission to the program and
follow the regular admission procedure. In lieu of the
re-admission process, a student may maintain
his/her matriculation status while he/she is not
registered for classes by filing a "continuous
matriculation" form and paying the appropriate fee.
34
GRADING SYSTEM
The grade will indicate a student’s level of achievement as follows:
Grade
Interpretation
A
Excellent
A-
Excellent
B+
Good
B
Satisfactory
B-
Average
C
Below Average
F
Failure
I
Incomplete
Students should consult the Graduate Catalog for complete policies regarding the University grading system, minimum
grade requirements, withdrawal from courses, auditing courses, withdrawal from the University, residence
requirements, continuous registration, thesis, and time limit.
35
M.M. – Music Education
CURRICULUM
COURSE
CORE COURSES
COURSE
MUS 590
MUS 540541
MUS 510511
MUS 535
COURSE TITLE
Introduction to Music
Research
Analytical Techniques I, II
HOURS
(Pre-requisite, placement test
or MUS 512)
4
Ensemble
2
Contemporary Music
TOTAL HOURS
REQUIRED
2
3
COURSE TITLE
HOURS
Core Program
11
Music Education
9
Music History Electives
4
Emphasis Area
6
Terminal Option
3
KEYBOARD EMPHASIS
3
2
2
2
MUS 680
MUS 681
MUS 682
COURSE TITLE
HOURS
History and Philosophy of
Music Education
Current Trends in Music
Education
Administration and Supervision
in Music Education
3
3
3
MUSIC HISTORY ELECTIVES
4 credit hours
Plus choice of (one):
MUS 624
HOURS
COURSE OF STUDY AREA
COURSE
MUS 521-522 Applied Keyboard
COURSE TITLE
Choral Technique
Advanced Choral Conducting
Vocal Literature
Vocal Pedagogy
11
PROGRAM HOURS
COURSE
MUS 628
MUS 623
MUS 527
MUS 650
MUS 550
MUS 629
MUS 520
Choose two:
COURSE TITLE
COURSE TITLE
Piano Literature
Organ Literature
Piano Pedagogy
Organ Improvisation and
Service Playing
HOURS
2
2
2
HOURS
MUS 531 Music in the Renaissance
2
MUS 532 Music of the Baroque Era
2
MUS 533 Music of the Classical Period
2
MUS 534 Music of the Nineteenth Century
2
2
TERMINAL OPTIONS
INSTRUMENTAL EMPHASIS
MUS 521-522 Applied Instrument
4 credit hours
COURSE
MUS 651
MUS 551
MUS 685
MUS 686
MUS 687
MUS 686
COURSE TITLE
HOURS
Band Management
Advanced Instrumental
Conducting
Teaching Practicum in
Brasswinds
Woodwinds
Teaching Practicum in Strings
Percussion
2
2
2
Lecture/Recital – a public performance eighty
minutes in length with lecture commentary during
the course of the program. Enrollment in MUS
690C required.
2
Non – Thesis – specialized field research reporting
accomplishment of innovative school program of
definite merit. Enrollment in MUS 683-684
required.
2
TERMINAL EXAMINATIONS
2
Thesis Option - Oral Examination (including
defense of thesis)
VOCAL EMPHASIS
MUS 521-522 Applied Voice
Thesis – extended research on a theoretical
subject. Enrollment in MUS 690A required in the
initial semester. Later enrollment in MUS 750 is
required if no other coursework is taken.
4 credit hours
Lecture/Recital – Written Examination
Non-Thesis Option - Written and Oral
Examinations.
36
M.M. – Theory/Composition
M
CURRICULUM
CORE COURSES
COURSE
MUS 590
MUS 540541
MUS 510511
MUS 535
COURSE TITLE
Research
HOURS
or MUS 512)
4
Ensemble
2
Contemporary Music
TOTAL HOURS
REQUIRED
2
3
COURSE OF STUDY AREA
11
COURSE
MUS 642
MUS 643
MUS 644
MUS 654
MUS 546
COURSE TITLE
Theory Pedagogy
HOURS
2
Composition Seminar I and II
Invertible Counterpoint and
Fugue
Advanced Orchestration
PROGRAM HOURS
COURSE TITLE
HOURS
Core Program
11
Theory/Composition
11
Emphasis Area
6
Music History Elective
2
Terminal Option
3
TERMINAL OPTIONS
Thesis – extended research on a theoretical
subject. Enrollment in MUS 690A required in the
initial semester. Later enrollment in MUS 750 is
required if no other work is taken.
.
EMPHASIS AREA (KEYBOARD, INSTRUMENTAL, OR VOICE)
MUS 521-522 Applied Keyboard/instrumental/Voice
hours
4 credit
Plus choice of one course from keyboard, instrumental, or voice
performance contraction emphasis area):
COURSE
MUS 651
MUS 551
MUS 685
MUS 686
MUS 687
MUS 686
MUS 620
COURSE TITLE
Band Management
Advanced Instrumental Conducting
Teaching Practicum in Brasswinds
Teaching Practicum in Woodwinds
Teaching Practicum in Percussion
Seminar in Performance and
Repertory
M.M. – Performance
HOURS
2
2
2
2
2
2
2
Composition – an original work in three or more
extended movements for four or more
instruments or a work for large chorus and/or
ensemble as approved by the advisor. A lecture
on the composition/s is given. Enrollment in MUS
690A.
TERMINAL EXAMINATIONS
Thesis Option – Oral Examination (including
defense of thesis)
Composition Option - Written Examination
4
3
2
37
CURRICULUM
CORE COURSES
COURSE
MUS 590
MUS 540541
MUS 510511
MUS 535
VOICE EMPHASIS
COURSE TITLE
Research
HOURS
3
MUS 525-526
or MUS 512)
4
Choose three:
Ensemble
2
Contemporary Music
TOTAL HOURS
REQUIRED
2
11
Applied Music – Voice
8 credit hours
COURSE
COURSE TITLE
MUS 520
*Voice Pedagogy
2
MUS 629
Vocal Literature
2
MUS 650
Choral Techniques
3
Advanced Choral
Conducting
Seminar in Performance
and Repertory
MUS 550
PROGRAM HOURS
MUS 620
COURSE TITLE
11
Emphasis Area
14
Music History Electives
4
Terminal Option
3
KEYBOARD EMPHASIS
Applied Music – Keyboard
8 credit hours
Choose three:
INSTRUMENTAL EMPHASIS
COURSE
Applied Music– Instrumental
8 credit hours
MUS 628
Choose three:
MUS 651
MUS 620
MUS 551
MUS 685
MUS 686
COURSE TITLE
Band Management
Seminar in Performance and
Repertory
Advanced Instrumental
Conducting
Brasswinds
Woodwinds
2
*Required
MUS 525-526
COURSE
2
HOURS
Core Program
MUS 525-526
HOURS
HOURS
MUS 527
2
HOURS
2
2
MUS 650
Choral Techniques
3
MUS 550
Advanced Choral
Conducting
or MUS 620 Seminar in
Performance and
Repertory
2
2
2
COURSE TITLE
Piano Literature
or MUS 623 Organ
Literature
Piano Pedagogy or MUS
624 Organ Improvisation
and Service Playing
2
2
MUS 687
2
MUS 686
Percussion
2
MUSIC HISTORY ELECTIVES
Choose two:
COURSE TITLE
HOURS
MUS 531 Music in the Renaissance
2
TERMINAL OPTION
MUS 532 Music of the Baroque Era
2
Recital – a public performance sixty minutes in length.
Enrollment in MUS 690B required.
MUS 533 Music of the Classical Period
2
MUS 534 Music of the Nineteenth Century
2
Lecture/Recital – a public performance eighty minutes in
length with lecture commentary during the course of the
program. Enrollment in MUS 690C required.
TERMINAL EXAMINATION
Written Examination
38
MASTERS OF MUSIC COURSE DESCRIPTIONS
MUS 510-511
One Credit Each
Ensembles
Required of all graduate majors for two semesters. Chosen from the following:
•
•
•
•
•
•
The "Spartan Legion" Marching Band, a high-stepping marching unit usually numbering more than 150 instrumentalists and
dancers.
The Symphonic Wind Ensemble which performs important literature written for the idiom.
The Jazz Ensemble, a group devoted to the serious study and performance of jazz forms.
The Concert Choir, is an ensemble of approximately 80 male and female voices specializing in the performance of concert
literature of all periods.
The Vocal Jazz Ensemble consist of twenty students and specializes in the performance of contemporary vocal genres with
choreography.
The Choral Ensemble is a laboratory chorus of graduate students.
MUS 512
Two Credits
Basic Concepts of Style in Music Theory
Not creditable toward the Master of Music degree.
This is a survey course in music theory placing emphasis on stylistic principles of tonal and atonal writings. Representative
compositions from the historical periods will be analyzed.
MUS 513
Two Credits
Basic Concepts of Style in Western European Music
Not creditable toward the Master of Music degree.
This is a survey of the stylistic traits of the music of the Western European tradition presented from various aspects, such as historical
periods, individual composers, forms, media, nationalism, musical idioms, and aesthetic principles.
Non Degree Credit -- Comprehensive review course for (a) graduate students preparing for candidacy (b) non-degree students seeking a refresher
course, re-certification, etc.
MUS 520
Two Credits
Voice Pedagogy
A course for voice teachers, choral directors, and voice students which gives practical application of teaching techniques, technical
principles, vocal methods, and terminology employed in the teaching of singing.
MUS 546
Two Credits
This is a practical course in scoring for full orchestra. The study will encompass an examination of orchestral works from the Romantic
Period to the 20th Century and the orchestration of works from other idioms for full orchestra or chamber ensemble.
MUS 521-522
Two Credits
Applied Music
(One hour of instruction per week)
Private instruction in Brasswind, Woodwind, Percussion, Strings (also including guitar), Keyboard, and Voice. (Required for two
semesters for non-performance majors.)
39
MUS 525-526
Four Credits
Applied Music
(One hour of instruction per week)
Private instruction is available for two semesters in each medium: Brasswind, Woodwind, Percussion, Strings (also guitar), Keyboard,
and Voice. (Required for two semesters for non-performance majors.)
MUS 527
Two Credits
Piano Pedagogy
This course deals with specific principles of piano teaching and the mechanics of the instrument. Analyzing (from the standpoint of
the pupil), planning, and formulating exercises are discussed according to major problems in piano playing and methods for correcting
such are included along with guides for group piano instruction.
MUS 531
Two Credits
Music in the Renaissance
This course surveys developments in musical style during the period of 1400 through 1600, concentrating on musical forms and
stylistic practices; including music of Dufay, Ockeghem, Josquin, Gesualdo, Lassus, Palestrina, Gabrieli, and Byrd.
MUS 532
Two Credits
Music of the Baroque Era
This course examines developments in musical style during the period of 1600 through 1750 against the background of their major
environmental and cultural determinants. It includes music of Bach, Handel, Vivaldi, Rameau, and Scarlatti.
MUS 533
Two Credits
Music of the Classical Period
This course surveys developments in musical style during the late eighteenth and early nineteenth centuries as expressed in the chief
categories for the period: symphony, sonata, concerto, opera, chamber music, and sacred music. It Includes music of Haydn, Mozart,
and Beethoven.
MUS 534
Two Credits
Music of the Nineteenth Century
This course covers the birth of the Romantic Movement from intellectual and literary origins through the expansions of the symphony
orchestra and related forms. Romantic expression through keyboard and vocal forms as well as music of Brahms, Berlioz, Liszt,
Schubert, Wagner, Mendelssohn, Schumann, Bruckner, Chopin, Mahler, and Verdi is included.
MUS 535
Two Credits
Contemporary Music
This course surveys the musical language and syntax from the period 1900 to the present. Analytical emphasis on representative
works including those of Debussy, Ravel, Stravinsky, Bartok, Hindemith, Schoenberg, Berg, and Webern are examined.
MUS 540-541
Two Credits
Analytical Techniques
This course is designed to present systematic approaches to tonal and structural analysis. Musical scores from various periods will
be analyzed. Class lectures will lead to individual analytical projects. (I. Gregorian Chant - Beethoven; II. 19th and 20th centuries;
required for two semesters.) Required of all graduate majors.
MUS 546
Two Credits
This is a practical course in scoring for full orchestra. The study will encompass an examination of orchestral works from the Romantic
Period to the 20th Century and the orchestration of works from other idioms for full orchestra or chamber ensemble.
MUS 550
Two Credits
Advanced Choral Conducting
This course will develop students’ knowledge and skills in interpreting major choral works. Music representing all periods is selected,
analyzed and conducted from a stylistic standpoint. Score study and preparation for the rehearsal is given equal emphasis to the
correction of problems inherent in the score and those brought about by the performing clientele and/or environment.
MUS 551
Two Credits
Advanced I Instrumental Conducting
This course deals with the development of knowledge and skills in instrumental conducting on a professional level. Emphasis is given
to developing style and to interpreting major works and the relationship of different styles to the conductor's art. Score reading, baton
techniques, and interpretation constitute equal portions of the course content.
40
MUS 590
Three Credits
Introduction to Research
This is a course designed to acquaint the student with basic research techniques, literature, and bibliographic materials pertinent to
graduate study in music. (Required of all graduate majors.)
MUS 620
Two Credits
Seminar in Performance and Repertory
This course allows group and individual participation in performance by graduate students. Emphasis on evaluation of performance
practice, style, and interpretation through discussion on class performance. On an individual basis, the student will be expected to
develop repertoire lists of major compositions and composers for his/her appropriate instrument.
MUS 623
Two Credits
Organ Literature
This is a survey of representative works from the major historical eras, including late Renaissance, French and German Baroque, 19th
Century Romantic German and French, and important 20th century styles. Discussion and demonstration of performance practice,
style and registration, and approaches to adapting registrations to available instruments.
MUS 624
Two Credits
Organ Improvisation and Service Playing
This course is designed to acquaint organists with skills and techniques involved in hymn and chant accompaniment, free
accompaniment, anthem accompaniment, reducing piano-vocal scores for organ, and conducting from the console. Course content
also includes a survey of representative Protestant and Roman Catholic liturgies, improvisation, and modulation.
MUS 628
Two Credits
Piano Literature
This course is designed to study piano literature extending from pre-Baroque keyboard repertory to the present. The study is
accomplished through performance, analysis, and discussion of bibliographies and editions.
MUS 629
Two Credits
Vocal Literature
This course is designed to study and survey vocal literature of Italian, German, French, English, and American composers. Emphasis
is on the application of techniques of song study, interpretation, and program building.
MUS 636
Two Credits
Special Studies in Music History
This is an independent study in selected areas of interest, encompassing a review of current literature and individual projects.
MUS 642
Two Credits
Theory Pedagogy
This course investigates methods, materials, and sequence for teaching classes in music theory. Consideration is given to the
selection of texts, new approaches, contemporary techniques, special problems, and the development of the course outline.
MUS 643-644
Two Credits
Composition Seminar I, II
(Required of composition majors for two semesters.)
This course facilitates classroom and individual instruction in composition.
MUS 645
Three Credits
Invertible Counterpoint and Fugue
This course is designed to develop students develop techniques in double, triple, quadruple, and invertible counterpoint. Original
compositions including invention, choral variation, canon, and fugue in the style of J. S. Bach are also emphasized.
MUS 650
Three Credits
Choral Techniques
This course is designed to heighten the choral conductor's comprehension of choral music and its performance. In this course,
students will concentrate on three areas within the choral spectrum: choral conducting, choral development, and choral interpretation.
MUS 651
Three Credits
Band Management
This course familiarizes prospective and professionally employed band directors with management skills and procedures necessary
for an effective band (Instrumental Music) program.
41
MUS 680
Three Credits
History and Philosophy of Music Education
Pre-requisite: MUS 590.
This course is a survey of the historical and philosophical foundations of music education from ancient Greece to the present with an
emphasis on the history of public school music in the United States.
MUS 681
Three Credits
Current Trends in Music Education
This course identifies current issues and development, materials, media, teaching strategies, and research relevant to contemporary
school music. Pre-requisite: MUS 590 or equivalent.
MUS 682
Three Credits
Administration and Supervision in Music Education
This course is a survey of the duties of the school music supervisor. These duties include effecting instructional improvement,
developing positive staff relationships, and attending to varied administrative responsibilities. Pre-requisite: MUS 590 or equivalent.
MUS 683-684
Three Credits
Special Studies in Music Education
Pre-requisite: MUS 590.
This is a terminal option for the non-thesis music education major. The design, implementation, and submission of a written report on
an innovative instructional program are required. Students must consult with their advisor.
MUS 685-688
Two Credits
Teaching Practicum (2, 2, 2, 2)
This course is designed to familiarize the student with methods of instruction through a presentation of current materials and
pedagogical views. Each student is expected to participate in class ensembles rotating on the instruments in a particular family. It is
available for Brasswind, Woodwind, String, and Percussion students.
MUS 690
Three Credits
Terminal Options

MUS 690A
Thesis
(Music Education or Theory/Composition Concentration)
An extended and scholarly research project on a significant topic.

MUS 690B
Recital
(Performance Concentration)
The presentation of a public recital.

MUS 690C
Lecture/Recital
(Theory/Composition Concentration)
The presentation of a public lecture/recital.
42
Policies, Procedures, and Pertinent Information
1. General Admission
All students seeking admission to Norfolk State University and acceptance to curricular programs
in one of the five colleges and schools must apply for admission. The online application found on
the University’s website is the preferred and the most economical method of application.
However, a paper application is available for individuals without computer access from the
Admissions Office, the Department of Visual and Performing Arts, or the Offices of NSU Choirs
or Bands.
2. Audition and Preliminary Tests in Music (Bachelor of Music)
All students who seek the Pre-Music Curriculum prior to entry into the Bachelor of Music program
must audition. The student should prepare two works (or movements) in contrasting style on their
requested major instrument. Students should choose literature that will showcase technical skills
and musical artistry (tone, breath support, expression, interpretation, etc…). Upon sufficient
notice, an instrument and an accompanist can be provided for the audition. DVD’s are accepted
for students who live outside a 125 mile radius of the University. Percussion students should
demonstrate technical proficiency and perform a solo selection in two of the following categories:
snare drum (rudimental [marching] and concert), mallets, timpani, drum-set, and world percussion.
All students who seek the Pre-Music Curriculum prior to entry into the Bachelor of Music program
must take the Diagnostic Examination in Music Theory and Sight-Singing. This thirty-minute
examination will assess the student’s knowledge of beginning musical concepts. The student
should be familiar with the following:
Notation
Key Signatures
Scales
Intervals
Rhythm
Time Signatures/Meter
Triads
Inversions
Musical Terms
The student will be asked to sing a melody at sight, recognize the quality of triads, and identify
intervals. Any text on elementary Harmony or Theory will be of great assistance.
43
In rare instances, the Division reserves the right to deny admission into the Pre-Music Curriculum,
the Bachelor of Music, or Master of Music programs.
3. Advising
Academic advising is an integral part of the educational process. While advisees have the
opportunity to become participants and contributors to their growth and development, advisors
enhance student learning and development. The advisor will










Assist with the student’s transition from high school to college.
Assist with the establishment of priorities and goals.
Approve selection of courses.
Monitor academic, musical, and professional progress toward fulfillment of the
degree.
Guide the student on the path of responsibility and accountability.
Promote self-reliance.
Assist in the navigation of conflict.
Assist students in the exploration of academic and music opportunities.
Establish a high degree of confidentiality and trust with the advisee regarding
sensitive information and the student’s welfare.
Document consultations and action steps.
It should also be understood that students have a role to play in the advising process by
maintaining, with integrity, open lines of communication with the advisor.
The student’s advisor is, by custom, the applied major teacher. However, in some instances
(adjunct faculty), the Chair designates another faculty member to serve as the student’s advisor.
4. Course Selection and Pre-Requisites
In consultation with the student’s advisor, course selection should follow the curriculum by
classification. That is, freshman level courses should be completed first, followed by sophomore,
junior, then senior classes. In the music curriculum, there are five sequences that must be taken in
the order cited in the curriculum.
Sight-Singing and Ear Training
Applied Major
Applied Minor
Ensemble
44
Thus, the successful completion of the previous semester of the course of the same name (prerequisite) is required prior to enrolling in the course of the same name which follows.
5. Grading
Faculty in VPAR employ either of the following grading scales:
A = 90 – 100
B = 80 – 90
C = 70 – 79
D = 60 – 69
F = 0 – 59
96 – 100
90 – 95
86 – 89
82 – 85
78 – 81
75 – 77
A
AB+
B
BC+
71 – 74
68 – 70
65 – 67
62 – 64
59 – 61
0 – 58
C
CD+
D
DF
A grade of C or better is required in all music classes.
6. The Spartan Success Center and Retention Alert
The Spartan Success Center offers services designed to improve student achievement, increase
retention, and reduce time to degree completion. Students are encouraged to take advantage of
tutoring (including SMARTHINKING online free tutoring service), advising, mentoring,
Sophomore Year Experience, and Examination of Writing Competency assistance.
https://www.nsu.edu/provost/ssc/
The Retention Alert policy provides a framework for establishing a campus network of responders
including both academic and student affairs agents to increase a safety net so students are less
likely to leave the University before graduating. Based on classroom performance a student may
be referred to the appropriate responder through Retention Alert.
7. Class Attendance
The university expects students to attend classes. While unnecessary absences are discouraged, the
university recognizes that on occasion students may have legitimate reasons for being absent.
Thus, a student will be permitted one “unexcused” absence per semester hour credit or the number
of times a given class meets per week. Once a student exceeds the number of allowed unexcused
45
absences, an instructor may require an official university excuse. No more than 20% of class
meetings (excused or unexcused) may be missed by a student during a given semester. At the
discretion of the instructor, a student whose absences exceed 20% of scheduled class meetings for
the semester may receive a grade of “F” for the course.
Each student has the ability to confer with his/her instructors regarding all absences or intended
absences. If sudden departure from the campus (for emergency or extraordinary reason) prevents
a student from communicating with each of the instructors, the student is expected to notify the
Office of the Dean of Students within 48 hours.
Class excuses are used for legitimate reasons (medical, funerals-immediate family members only,
official university business/activities, etc…) by the office of the Dean of Students. Official written
documentation may be required by the Dean of Students (notes from relatives, friends, etc… are
not accepted as “official” documentation for absences). The Dean’s office will determine if an
absence is legitimate and whether an excuse can be granted.
8. Applied Lesson Attendance
Students are required to attend all lessons. Should the student provide (1) forty-eight hour notice
and (2) present a documented reason for an excused absence, the teacher will grant the excused
absence and re-schedule the lesson. However, only one such request can be made. Future requests
for excused absences or absences requested less than the forty-eight hour prior to private lesson
will be considered at the teacher’s discretion. The teacher will determine whether or not the
circumstance/s warrant a make-up lesson. Students who fail to provide notification of their absence
will be given a failing grade for the lesson and no make-up lesson will be granted.
9. Tips for Music Majors
Within the arts, there is a yearning for structure, order, and discipline that creates the embryo for
creativity to flourish. As gleaned from the curricula tables, music majors are fully engaged in an
array of general education core and music classes, studio sessions, rehearsals, and practices each
day. Hence, it is important to:
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Prioritize one’s time and execute good time management.
Prior to retiring for bed, plan what you must accomplish the next day.
Use an alarm clock. Awaken no later than 9:00 a.m.
Eat something! (Grain, Carbs, protein, fruit, juice, water, etc…).
Know your schedule for each day.
Promptly attend each and every class/rehearsal.
Do not use a phone (talk or text) during classes or rehearsals.
Bring completed assignments, pen, pencil, manuscript paper, etc.., to class.
Be alert, listen, participate, and absorb what you hear. Keep your mind in the classroom.
Take notes.
46


Ask the teacher to explain anything you do not understand.
Study. Practice.
10. Substitutions
Advisors and advisees are expected to adhere to the published curriculum. As such, substitutions
are infrequent and are granted only when special circumstances arise. Consideration is given to
Similar courses taken during the summer at other institutions.
Similar courses taken due to unavailability of desired courses
Similar courses taken at Consortium Institutions
Commensurate course content, level, and credit hours weigh heavily in the approval of course
substitutions. When in doubt, the student should seek pre-approval for a course substitution prior
to enrollment, especially courses at other institutions.
11. The Sophomore Proficiency
After the mid-term examination period of the student’s enrollment in MUS 226, music majors are
evaluated to assess the appropriateness of continuing in the Bachelor of Music program or the
chosen degree concentration. The student must successfully complete examinations in music
theory, sight-singing, and on the principal instrument of study. A panel comprised of music faculty
will review the results of the examinations and evaluate past or present live performances. The
panel provides a recommendation to the Director for continuation in the program or change of
major.
12. Music Academic Review
At the close of each semester, students are sent emails by the Academic Review Committee
acknowledging the student’s academic and performance status as reflected in grade reports. As
appropriate, one of the following letters is forwarded.
Letter of Commendation
Letter of Challenge
Letter of Probation
After two successive Letters of Probation, the Committee may recommend dismissal from the
program.
13. Selection of Applied Teacher
Students are assigned an applied teacher (major and minor) by Area Coordinators with the
approval of the Department Chair. The teacher is retained throughout the student’s study. In rare
47
instances, a change of teacher is granted at the request of the student to the Area Coordinator or
Division Director. After consultation with the Area Coordinator and the original teacher, a
recommendation is presented to the Chair who approves or disapproves the recommendation.
14. Applied Major and Juries
Students enrolled in degree programs are approved through audition for applied instruction on a
major instrument for eight semesters in the undergraduate and two semesters in the graduate degree
programs respectively. As such, applied or private instruction becomes the primary means for
developing technique, musicianship, artistry, and performance readiness. Students are expected to
demonstrate through their own study and practice, familiarity and improvement from lesson to
lesson. Students who arrive at lessons demonstrably unprepared could have their lesson time
forfeited by the major teacher. At the end of the semester, each student participates in a
performance of prepared compositions before a panel of faculty jurors (at least three) who provide
an assessment of the student’s presentation and achievements in the applied major instrument. The
applied jury schedule is posted at least one week prior to final examinations. The student must
submit the appropriate jury evaluation sheet and bring three copies of the literature to be performed
to the jury. Any student who does not appear for his jury and presents no excuse of a medical
emergency or to the major teacher on the day of the jury will receive the grade of “F” for the jury.
The composite jury grade which serves as a final examination for the applied major class, accounts
for one-third of the student’s final grade with the remainder given by the private teacher.
15. Applied Minor and the Piano Facility Examination
With the exception of piano and organ majors, all undergraduate music majors are required to
demonstrate functional keyboard skills designed to ensure an ability to use the piano to support
the student’s scope of professional activities. The student registers for applied minor (piano) which
spans four semesters, and the Piano Facility Examination is taken at the conclusion of the fourth
semester. Students who complete the examination in earlier semesters may choose another
instrument to obtain the necessary credit hours in applied minor. Keyboard majors must complete
designated portions of the examination before enrolling in the third semester of applied piano
(MUS 225) and additional skills to demonstrate are required. Keyboard majors will choose another
instrument to fulfill their applied minor credit hours. The examination is administered each
semester.
16. Change of Instrument
Should the student request a change of instrument, a new audition is required and if successful, the
student must enroll in the first semester of applied major on the new instrument. A change of
instrument is extremely rare.
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17. Recitals Class
All students enrolled in Applied Major/Recitals are required to attend Recitals Class on each
Friday. The Class serves as a performance laboratory and includes required concert attendance at
recitals, concerts, and arts presentations on and off-campus. On some Fridays, students meet in
area workshops or instrument-specific sessions for lecture-demonstrations. With the exception of
first semester majors (MUS 125), all majors must perform in Recitals Class a minimum of once
each semester. The Recitals Class component of the course Applied Major/Recitals accounts for
20% of the final grade in the course and the applied lesson, 80 % percent. If the minimum number
of Friday classes (11) and concerts (4) is not met, the student receives no points in conjunction
with the applied lesson grade for the final grade. Students may earn additional recital credits by
attending approved additional performances. Symphony, opera, ballet, theater, and solo recitals
are approved additional performances. For proof of attendance at arts presentations, all students
must either sign a roll at on campus activities, ask an attending faculty member to verify attendance
at off-campus events by signing a program or playbill of the event for submission to the Division
of Music Office (by the attendee), or submit a program and essay on the performance/event to the
Music Office.
18. Student Teaching Experience (Music Education Emphasis)
Student teaching is a practice situation where teacher candidates assume the role of a professional
classroom teacher for a designated period of time. The candidates have opportunities to work
closely with skilled and professional educators and to practice those skills in a classroom setting.
The candidates learn that classroom students, the school environment, and the clinical faculty and
staff are part of the experience to bring the student teaching experience to life. We encourage the
student teacher to take advantage of every opportunity to observe, question, participate, and
evaluate as a means of increasing teacher competency and enhancing professional growth.
Norfolk State University requires that licensure candidates complete two eight-week experiences
for a minimum total of 400 clock hours (200 hours per eight-week experience). However, the time
for each experience will be counted in weeks. Placements are chosen as follows: one placement in
a target/community project school – less diversity; and one placement in a diversely populated
school – different cultures and exceptionalities. The candidate is not permitted to student teach in
buildings where relatives are employed. Beyond completion of the course requirements in music
education, the following must be completed:
Pre-requisites
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Successful completion of Praxis I/SAT/ACT/Praxis II/VCLA/RVE (if applicable)
Admission to Teacher Education
Completion of Child Abuse Recognition and Intervention Training
Completion of all coursework for a teaching program with a 2.5 or above GPA
Membership in a professional organization
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
A state criminal background check/social services background check if required
by the school division of interest
Criteria for submitting Application to Student Teach
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Evidence of above average academic accomplishment in the major
An overall GPA of 2.5 or better
Departmental endorsement (of your major)
Be a graduating senior (or completing your required program ) in December or
May
Evidence of completion of all requirements for Admission to Teacher Education
(submit portfolio) binder prior to the semester you are expected to student teach)
Two letters of recommendation from faculty members addressed to Dr. June M.
Montgomery, Director
A current evaluation signed by the advisor and referenced courses to be
completed
Evidence of passing scores on the Praxis I / SAT / ACT, Praxis II, VCLA, and
RVE ( if applicable ) examinations
A signed Background Verification Form
Transfer students must complete at least one methods course before approval for
student teaching
A current (within one year ), negative Tuberculin Skin Test or Chest x-ray results
A resume
The application must be signed by your advisor and department head
The application should be submitted during the semester prior to desired student
teaching
19. Media Internship (Media Emphasis)
The professional internship in music-media is designed to provide practical experience in the
student’s major area of concentration. For music media junior and seniors, opportunities for
placement include WNSB-FM, the university’s radio station, and other television, recording
studios, radio, cable and production facilities. For music media juniors and seniors, the internship
(on-campus assignment) may include NSU Recording Studio, Music Ensembles, or students may
select an internship (off-campus placement) in Movie, Video Production houses, or TV Stations,
or church organizations. In each case, students spend a semester working with professionals in a
music and media medium setting to gain practical experience. Students are expected to conduct
themselves as professionals in a job setting, and observe the policies and procedures governing
professional behavior at the internship site.
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20. Senior Recital
As the culminating performance activity in the final semester/s in applied major, all students must
present a public recital of at least 50 minutes duration. Approved venues for the recital are the
Student Center Auditorium, Brown Hall Little Theater, Wise Arts Gallery, and Band/Choir
Rehearsal Halls. With the approval of the applied instructor and Department Chair, recitals may
be presented in off-campus revues. The protocols for recitals are as follows:
1. Thirty days prior to the jury examination in the penultimate semester (MUS 425)
of the recital, the student in consultation with the teacher, notifies the area
coordinator of the intent to present a recital the following semester (MUS 426).
2. The Area Coordinator arranges a Pre-Hearing (extended jury) for the student in lieu
of the standard jury for MUS 425.
3. The Jurors approve (disapprove) the Pre-Hearing.
4. Using the Recital Form, a date, time, and venue are selected and presented to the
Chair 60 days prior to the recital date. The full program must be listed and the
accompanist confirmed.
5. At the request of the teacher, a Recital Approval is arranged by the Area
Coordinator with an Approval Hearing Committee appointed by the Chair no less
than 30 days prior to the requested recital date.
6. If approved, the recital is presented as planned.
7. The Approval Hearing Committee renders an evaluation after the recital is
presented.
8. The recital form provides rudimentary steps for the completion of the recital.
Additional requirements are as follows:

Voice: The entire recital must be memorized prior to the recital approval and the
four principal languages (English, French, German, Italian) must be presented on
the program. Media voice majors must present works in two languages and a wider
variety of musical styles.

Instrument: At least one movement of an extended work or an entire shorter work
must be memorized prior to the recital approval and the recital. There is no
memorization requirement for media majors. A wider variety of styles must be
displayed.

Keyboard: A minimum of one-third of the program must be memorized prior to
the recital approval and the recital. There is no memorization requirement for media
majors. A wider variety of styles must be displayed.
In rare circumstances, a Senior Jury of forty minutes duration may be presented. Such a request is
made by the student in consultation with the applied instructor. The request requires approval of
51
the Area Coordinator and the Chair. The requirements utilized for the recital are maintained for
the Senior Jury.
21. Application for Graduation
Each academic year in December and May, Norfolk State University hosts Commencement
Exercises to publicly recognize the academic accomplishments of students who have completed
degree requirements and are poised to take leadership roles in a global and rapidly changing
society. In keeping with this commitment, candidates for graduation must complete all degree
requirements or be currently enrolled in all remaining credits that will complete degree
requirements and satisfy all financial obligations in order to participate in commencement
ceremonies. Academic and financial clearances must be obtained before academic attire is issued
to the student.
The candidate for graduation (the student) submits a graduation application to the academic
advisor by the published deadline for the term in which the student expects to complete all
academic requirements for his/her degree program. The academic advisor signs, if approved, and
forwards the application to the department head for signature. The department forwards all
graduation applications, in batch, to the Registrar’s Office. The student is responsible for paying
the graduation application fee and Commencement fee directly to Student Financial Services.
22. Accompanist
While the use of an accompanist is required for instrumental juries at junior and senior jury levels,
accompanists are required for all recitals. Voice students must arrange for accompanists for all
juries and lessons, as appropriate. Several members of the Music Faculty ably assist in this regard
and piano majors are strongly encouraged to render this service as an enhancement to their
musicianship. Ultimately, it is the responsibility of the student to arrange for an accompanists at
juries, senior juries, and senior recitals.
23. Concert Etiquette
In the Friday Recitals Class, student recitals, concerts, and other presentations, students are
expected to exercise appropriate decorum and concert etiquette. The following cite appropriate
concert protocols:
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Dress appropriately
Arrive at least ten minutes before the program
Do not enter if the program has begun
During the first applause, end of a composition, or end of a long movement,
enter quickly and as quietly as possible and find the seat closest to you
Give the performer your full attention
Do not talk, text, or operate electronic devices
When to Applaud:
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Applaud when the performer/s enter/s
When the composition ends; the end of a set of short compositions by the
same composer or in the same language (voice recital)
At the close of a solo section in a jazz composition
Do not applaud:
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After short songs in a vocal set
After each movement of a multi-movement composition
When the conductor’s arms are raised or the performer’s instrument is still
raised
24. Ensembles
The Division is home to outstanding music ensembles which possess national reputations of
excellence, notably the NSU Concert Choir and the Spartan Legion Marching Band. A list of
ensembles appears below:
Vocal
Concert Choir
Chamber Choir
Spartan Chorale
Vocal Jazz Ensemble
Opera Workshop
Instrumental
Spartan Legion Band
Symphonic Wind Ensemble
Concert Band
Vocal Jazz Ensemble
Jazz Combo
Percussion Ensemble
Woodwind Ensemble
Trumpet Ensemble
String Ensemble
Guitar Ensemble
Seven semesters of ensemble credits are required for the Bachelor of Music degree. The minimum
ensemble requirement for Music Education majors who play band instruments is four semesters
of University Band and three semesters of other instrumental ensembles such as jazz
ensemble/combo, percussion, woodwind, or brass ensemble. The minimum ensemble requirement
for vocal Music Education majors is five semesters of Concert Choir and two semesters of Vocal
Jazz Ensemble. Guitar and string students who customarily perform with the Guitar or String
Ensembles are required to enroll in a different ensemble for at least one of the seven semesters
53
ensemble is required. Rosters for the Symphonic Wind Ensemble and the Spartan Chorale (Vocal)
are completed through separate audition. Music students are requested to avoid registration in two
large ensembles during the same semester.
25. Scholarships
In addition to a plethora of scholarships available to NSU Students (See NSU Scholarship Guide),
partial tuition scholarships are provided by NSU Choirs and NSU Bands to assist music students.
Auditions may be arranged with staff in these areas at any time.
26. Organizations
Beyond the vast assortment of ensembles, the Music Division has chapters of the following
national organizations:
Phi Mu Alpha Sinfonia
Kappa Kappa Psi Band Fraternity
Tau Beta Sigma Band Fraternity
Sigma Alpha Iota Fraternity
National Association for Music Education
27. Music Computer Labs
The Music Computer Labs are used for all technology enriched courses taught in the Department
of Music such as Music Production, Pro Tools, Advanced Recording, Computer Literacy, and
Music Video. The Labs house media industry standard software and hardware for the professional
development of Norfolk State University’s music students. The Labs also support music education
and their creative palette. Students are able to compose and arrange utilizing software such as
Finale, Pro Tools, and free online music software. All general educations majors taking music
appreciation and humanities can use the labs listening stations for assigned musical score study
and listening.
To preserve a pleasant lab environment, the following are not permitted:
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Food or drink. Please keep them in your bag while in the lab.
Alteration of lab hardware and/or duplication of lab software (alteration includes
downloading software onto the hard drive).
Viewing or printing of pornographic materials.
Playing games at any time.
Cell phone conversations inside the lab. Please put all devices with ringers on silent,
vibrate mode or turn them off.
Children in the lab.
54
Due to severe weather conditions, it may be necessary to close the lab(s) with short notice.
Should you encounter any virus problems or technical issues, seek immediate assistance from the
consultant(s) on duty.
28. Classroom Policy
While classrooms are provided for group instruction, they may be used for rehearsal purposes or
study when vacant. If altered, chairs in the room and the piano must be returned to their original
positions. Eating is not permitted in classrooms, practice rooms, or rehearsal halls.
29. Practice Rooms
The Division provides practice rooms for the sole purpose of individual practice, rehearsal with
accompanist, or small group rehearsals. Practice rooms should not be used for academic study,
especially when a student has indicated a need to use the room for the purpose for which it was
intended. Practice rooms should not be used as areas to congregate and socialize. Food and
beverages are not permitted in practice rooms.
30. Use of University Equipment
Equipment in the Hamm Fine Arts Building is provided for instruction, rehearsal, and assistance
in the creation of presentations, compositions, and performances that will increase musical artistry,
learning, and pedagogy. As such, equipment should not be abused or removed from the location
upon which it was found. Certain rooms (organ, piano majors, percussion rooms, and music
education lab) require special permission. An extensive loan program provides string, woodwind,
and brass instruments to music students for ensemble and individual use.
31. Health and Safety
The Department of Visual and Performing Arts and the faculty and staff at Norfolk State
University, endeavor to provide a safe learning environment for students. Health and safety depend
in large part on the personal decisions of informed individuals. All music faculty, staff, and
students are required to attend the Health and Safety Orientation presented on the first Friday of
each semester at Recitals Class. Instrument-specific health and safety guidelines, tips, and
discussions are presented at the first Friday Area Seminar in each semester followed by a
compulsory examination requiring seventy percent passage by each student. Policies and
procedures on the following topics are reviewed:
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Fire Safety
Building Evacuation
Hazardous Identification
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Injuries
Elevator Etiquette
Health and Safety Practices for Listening, Performing, Practicing, and Teaching
For more information please visit the NSU website:
www.nsu.edu/liberal-arts/music/health-safety
32. Summer Music Program
This course of study is for talented pre-college students (middle and high school level students).
During the three week summer session, students receive individual and small group instruction on
at least two instruments (including voice). They also receive intensive instruction in music theory,
sight-singing and ear training, piano, music literature, and music technology. Students participate
in instrumental, keyboard, and vocal ensembles.
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NORFOLK STATE UNIVERSITY
COLLEGE OF LIBERAL ARTS
DEPARTMENT OF VISUAL AND PERFORMING ARTS
DIVISION OF MUSIC
700 Park Avenue
Norfolk, Virginia 23504
Telephone: 757-823-8544 or 8025
Fax: 823-2605

NORFOLK STATE UNIVERSITY COLLEGE OF LIBERAL ARTS

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