Department of Music

A. Lesson times are determined by the appropriate studio professor and student. A class schedule should be submitted to the teacher during the first week of each semester for the purpose of arranging lesson times.

B. Lesson attendance is expected every week. In the event of a conflict, the teacher should be notified in advance.

C. When resulting from student absences, the rescheduling of lessons is solely at the discretion of the teacher. In the event that a teacher needs to cancel, a make-up lesson will be scheduled.

D. Grading policies, practice requirements, required materials, etc., will be provided to all students by the applied teacher. Students are encouraged to seek additional clarification by consulting their applied teacher.

E. Jury examinations are required as a final evaluation at the end of each semester for students enrolled in applied music for two or more credit hours (1112, 3112, 3113, 6112). Music minors may be required to take a jury at the discretion of the applied professor. Bachelor of Music students taking lessons on a secondary brass instrument will perform a jury at the discretion of the secondary applied professor. Jury performances of required music selections are assessed by a majority of the brass faculty (at least three full time brass faculty must be present). Exemption from the jury may be granted with the successful completion of at least a half recital (25 minutes) that includes an assessed recital hearing, which fulfills the repertoire requirements of the applied lessons for that semester. Juries may involve a Proficiency Exam used for the purpose of approving students for admission to upper-level applied music or for admittance into performance degree programs.

Levels of Applied Music

Students should register for the appropriate Performance Applied Music course, as indicated below. Teacher permission is required for admittance:

MUSP 1111 is for non-music majors, music minors, and secondary lessons at the freshman or sophomore level.
MUSP 1112 is for freshman music majors, as well as those who have not tested or passed the proficiency for upper-level study.
MUSP 3111 is for non-majors who are classified as juniors or seniors, or for music majors seeking study of a secondary instrument.
MUSP 3112 is for music majors who have passed the Proficiency Jury.
MUSP 3113 is for music performance majors who have passed the Proficiency Jury.
MUSP 6111, 6112, 6113, and 6114 are for graduate music students.

Jury Policies – Brass Area

1. Juries will take place every semester during finals week.

2. The Brass Area Coordinator will send out instructions for Jury sign up at least one week before juries.

3. All students should sign up for 1 ten-minute slot with the exception of those students who are taking the Proficiency Exam for upper-level study. (See Proficiency Juries section below for details.)

4. Students should be prepared and on time for jury performances. It is recommended that students arrive at least ten minutes prior to their assigned time. Students are expected to wear appropriate concert attire (i.e., no jeans, T-Shirts, or tennis shoes); consult your studio professor if you have any questions regarding jury attire.

5. Students will be required to submit a Repertory Form detailing the materials studies during the semester. The Brass Area Coordinator will supply a link to this form at least one week before juries. All repertoire to be performed in the jury should be scanned and contained in one PDF document and one link. Scanned music should be the complete score not just the solo part (if piece includes piano). Repertory Form submissions are due the Friday before Finals Week. Students who fail to submit a Repertory Form may not be allowed to perform a jury.

6. A panel of at least three full-time brass faculty will assess all jury performances. The applied teacher determines the effect of this assessment on the final grade of the semester. Students may receive an assessment of jury performances from the applied teacher once the results are available.

Proficiency Juries

All candidates seeking the Bachelor of Music, Bachelor of Music Education, or Bachelor of Arts Degree in Music, must pass Proficiency Jury exams. Bachelor of Music in Performance students are first eligible to take the Proficiency Exam after 2 semesters of MUSP 1112. Bachelor of Music Education and Bachelor of Music in Music Industry students are first eligible to take the Proficiency Exam after 3 semesters of MUSP 1112. Passing this Proficiency Exam results in admittance to upper-level study as well as official admittance to the BM in Performance Degree Program. The Proficiency Exam for admittance to upper-level study may be repeated in subsequent semesters until admission is granted. Failed attempts could result in extra semesters of undergraduate enrollment. Note: It is possible to receive a passing grade in Applied Lessons and not pass the Proficiency Exam.

The following are the minimum requirements for the Proficiency Jury:

The Proficiency Jury is performed in front of a majority of the brass faculty (at least three full-time brass faculty must be present) and includes approximately 10-12 minutes of prepared music selected by the applied professor.
The selected repertoire could include two etudes or excerpts in contrasting styles and a solo OR two contrasting solos. One solo must come from an approved list available from the appropriate brass faculty member. At least one selection must have piano accompaniment.

Half and Full Recitals

MUSP 3130, Half Recital – Student will perform a program equivalent to at least one of half of a full solo recital. Fall, Spring. Special course fees may apply.

A half recital contains approximately 25 minutes of music or as approved by the student’s primary applied teacher. This recital is required of all Bachelor of Music students and Bachelor of Music Education students whose primary instrument is in the brass area. A recital hearing is required at least two weeks prior to the recital date.

MUSP 4131, Full Recital – Student will perform a full length solo performance. Fall, Spring. Special course fees may apply.

A full recital contains approximately 45 minutes of music or as approved by the student’s primary applied teacher. This recital is required of all Bachelor of Music students whose primary instrument is in the brass area. A recital hearing is required at least two weeks prior to the recital date.

MUSP 6131, Graduate Recital – A full length formal recital with an accompanying scholarly document. Special course fees may apply.

A graduate recital contains approximately 50 minutes of music or as approved by the student’s primary applied teacher. This recital is required of all Master of Music students whose primary instrument is in the brass area. A recital hearing is required at least two weeks prior to the recital date.

The student is responsible for establishing the date and time of the degree recital in consultation with the major applied teacher. Fall recitals should be scheduled by September 5 and spring recitals should be scheduled by December 1. Scheduling a recital after these dates will not be guaranteed and could delay graduation. To schedule a recital, students should use the Recital Date Request Form (see the Student Resources area on the Department of Music homepage) in collaboration with the Scheduling Calendar.
Notification of the date and time of the recital must be given in writing to the reviewing committee no later than four weeks prior to the performance.
The reviewing committee will consist of the major applied teacher, one additional full time applied teacher from the brass area, and one other full time Department of Music faculty member.
A recital hearing must be scheduled at least two weeks prior to the recital. Details concerning the hearing and scheduling of recitals can be found in the Student Resources area on the Department of Music homepage. It is the responsibility of the student to assemble the reviewing committee, schedule the hearing date, and reserve the venue. The purpose of the hearing is to determine the readiness of the student to perform the recital repertoire. The student should be prepared to perform any selections on the recital (a portion of each piece will be heard). For a half recital, a total of approximately 15 minutes of repertoire will be performed; for a full recital, a total of approximately 25 minutes of repertoire will be performed; for a graduate recital, a total of approximately 30 minutes of repertoire will be performed. A typed draft of the recital program and program notes (if required by professor) will be presented at the recital hearing for grading. The hearing must be passed by a majority of the reviewing committee in order to present the Half or Full Recital. If the hearing is failed the recital must be rescheduled or postponed.
The recital repertoire must include literature in two or more contrasting styles/genre.
The major applied teacher will approve the content of the recital program.
Evaluation of Recitals

For Undergraduate students, the recital assessment takes place at the recital hearing. Following the hearing, the faculty in attendance will determine whether the student has met the requirements for the Half or Full Recital. A majority of the committee must be in agreement in order for the student to pass. If the requirements are not met, the recital must be rescheduled or postponed. If the new recital date takes place after the last day of classes in the semester an Incomplete (I) for the course (MUSP 3130 or MUSP 4131) will be given. The applied teacher will give the final grade for the recital. If the recital is not completed by the end of the following semester, the grade will be recorded as “F.”
For Graduate students, the evaluation takes place during the recital. The recital is evaluated by a reviewing committee comprised of five faculty members including the student’s applied teacher, a member of the Graduate Committee, and three other applied faculty members. It is the student’s responsibility to form their committee. The recital program and program notes will also be evaluated.

Area Guidelines

JAZZ GUIDELINES

Follow this link for a PDF version of the guidelines below: Jazz Guidelines 2023

Jazz Recital Guidelines

Jazz Studies majors are required to give a half-recital (MUSP 3130) near the end of their junior year and a full recital (MUSP 4131) near the end of their senior year. Departmental policy states that the student must be enrolled for applied music lessons during the semester in which a recital is to be given. For a Jazz Recital, the student must also be enrolled in Half or Full Recital with the supervising instructor (Director of Jazz Studies). Jazz Minor students are not required to give a recital. At the discretion of the Director of Jazz Studies, students with sufficient credits in the jazz curriculum may give a recital following the Jazz Half Recital Guidelines.

Scheduling - The student is responsible for establishing the date and time of the degree recital in consultation with the supervising instructor. The student is responsible for notifying their recital committee of the date, time, and venue no later than four weeks prior to the recital hearing.

The Half Recital should contain approximately 25 minutes of music with no intermission; the Full Recital must contain at least 45 minutes of music and may include a brief intermission. Fall recitals should be scheduled by September 5 and spring recitals should be scheduled by December 1. Scheduling a recital after these dates will not be guaranteed and could delay graduation. See the Student Handbook for Planning a Recital.

Recital Hearing - Four weeks prior to a recital, the student must perform a Hearing for the recital committee made up of two Jazz faculty and the student’s major applied teacher. It is the responsibility of the student to assemble the committee, schedule the hearing date, and reserve the venue. The purpose of the hearing is to determine the readiness of the student to perform the recital repertoire. The student should be prepared to perform any selections on the recital (a portion of each piece will be heard). A typed draft of the recital program and program notes will be presented at this time for grading. As a general rule, program notes should consist of 1-2 paragraphs for each piece. If information is taken from a composer’s website, it must be indicated, and quotes must be cited in text (i.e., Mozart’s biographer Donald Minx said…)

Following the hearing, the committee members in attendance will determine whether the student has met the requirements for the Half or Full Recital. A majority of the committee must be in agreement in order for the student to pass. If the requirements are not met, the recital must be rescheduled or postponed. If the new recital date takes place after the last day of classes in the semester an Incomplete (I) for the course (MUSP 3130 or MUSP 4131) will be given. The supervising instructor will give the final sgrade for the recital. If the recital is not completed during the following semester, the grade will be converted to F.

Repertoire - A recital should reflect all aspects of the student's consummate development, including technique, stylistic fluency, programming, improvisation, composing and/or arranging, leadership, collaborative performance, and the ability to rehearse assisting players.

The jazz recital must focus on the efforts of the recitalist but may include a variety of small combos – duo, trio, quartet, quintet. Larger groups (up to 8-9 players) may be programmed, at the discretion of the supervising instructor. Brief solos by supporting players may be included, but they must not dilute the overall effect of a solo recital.

Repertoire for recitals will be selected by the teacher and student. In the semester before a recital, the student will submit a list of proposed repertoire to be reviewed by the supervising instructor. Jazz Majors must include at least one original composition on either their Junior or Senior Recital. Arrangements by the recitalist are also encouraged.

Recital repertoire must represent established jazz artists/composers. To facilitate improvisation, the following vehicle types must be represented: 1. Blues, 2. Bebop, 3. Ballad. Additional tunes may come from the Latin Jazz, Funk, Post-Bop, and Contemporary Jazz repertoire.

Responsibilities - The student is responsible for all mechanics of the recital. A check list is provided to aid the student in this respect. Items which are not shown in the list, but for which the student is nevertheless responsible include selection and organization of assisting personnel, rehearsals, staging, lighting, sound system, recording, and seeing that all performers are in appropriate attire for the recital. The recitalist will arrange for a member of the jazz faculty to coach at least 3 rehearsals prior to the Pre-Recital hearing, but the performer will be primarily responsible for preparing the ensemble performance.

Jazz Performance Rubric

The Hearing and Recital evaluation follows a specific rubric, which is detailed below:

Musicality: A performer’s knowledge, skill, and artistic sensitivity in performing music.

Technique: A performer’s agility, fluency, and clarity moving through the range of theinstrument.

Rhythm: A performer’s ability to play the correct rhythm within the pulse given the style of the piece.

Tempo: A performer’s ability to play with a steady tempo at all times, demonstrating mastery of internal pulse. When appropriate, the performer executes other tempo directives (e.g. ritardando, accelerando) organically and thoughtfully.

Dynamics: A performer’s ability to consistently create a wide range of contrasting volume levels that are appropriate for the style of music being played.

Tone quality: A performer’s ability to create a tone that is consistently focused, clear, and resonant at all registers and dynamics.

Intonation: A performer’s ability to demonstrate absolute physical and mental control over pitch both melodically and harmonically.

Articulation: A performer’s ability to effortlessly employ a varied palette of note shapes appropriate for the musical context. (The means that the student has considered the beginning, middle, and end of each note.). The mechanical and physical sounds of the articulation do no impede or distract from the music.

Interpretation: A performer’s ability to play characteristically in the appropriate style of the piece(s) and demonstrate an understanding of other instrumental or vocal parts if applicable.

Professionalism & Stage Presence: A performer’s ability to meet professional expectations while in the performance, space, including professional language, dress, stage presence, and demeanor.

Area Guidelines

PERCUSSION GUIDELINES

Follow this link for a PDF version of the guidelines below: Percussion Guidelines 12.11.25

Percussion Area Guidelines

Dr. Brian Graiser, Instructor of Percussion and Percussion Area Coordinator

Office: Fine Arts 234 (office hours by appointment)
Phone: (870) 972-3769
Email: bgraiser@astate.edu
Additional faculty: Dr. Joshua Watkins, Mr. Jarrett Robinett

The following is an explanation of the expectations and procedures for percussion majors at Arkansas State University. The motivation behind these guidelines is the desire of the A-State Department of Music to ensure that graduates are qualified and prepared at the highest possible level for professional endeavors appropriate to the degree program sought. These criteria pertain to students whose applied area of concentration is percussion.

Entrance Requirements

Admission: Prospective students must meet the admission requirements of the university as noted in the bulletins.
Auditions: Prospective Percussion students must audition for Dr. Brian Graiser prior to initial enrollment; this audition also serves as the Band scholarship audition. Each student will be notified individually regarding audition results. For undergraduate and graduate audition requirements, please visit https://www.astate.edu/colleges/liberal-arts-and-communication/music/auditions-and-scholarships.html

Degrees
Bachelor of Music (BM)

Music Composition: This degree prepares students to pursue careers as composers of acoustic and/or electronic music in the Classical (Western Art) Music tradition. Students can pursue careers as composers of classical, commercial, film, jazz, and/or video game music, and often seek graduate study if pursuing careers in higher education.
Music Performance: This degree prepares students to pursue performance careers as soloists and ensemble members across a variety of genres. A heightened emphasis is placed on the development of solo and chamber skills as well as the acquisition of professional and pedagogical tools. Most students seek graduate study before embarking on their performance careers, especially if pursuing careers in higher education.
Jazz Studies: This degree prepares students to pursue performance careers as soloists and ensemble members specifically within the jazz idiom. Heightened emphasis is placed on the development of improvisational skills as well as a deep awareness of jazz’s historical evolution and modern trends. Students often seek graduate study before embarking on their career, especially if pursuing careers in higher education.
Music Industry: This degree prepares students for a large number of possible careers in the music industry, such as commercial music production, music retail, music equipment manufacture, recording technology, etc. In addition to their musical training, students will also study areas such as audio engineering and recording technology, entrepreneurship, marketing, and accounting. Most students will enter the workforce upon graduation, although some may continue with graduate study.

Bachelor of Music Education (BME) - Instrumental Music: This degree prepares students to teach music in grades K-12 in the state of Arkansas. Most students embark upon their teaching careers immediately after graduation, while some choose to continue with graduate study (most often in music education or performance), especially if pursuing careers in higher education.

Master of Music in Performance (MM): This degree provides advanced study in instrumental performance culminating in graduate-level research projects and performances, including a graduate recital. Students are encouraged to pursue professional activities during their studies and may fully embark upon their performance careers after graduation, or they may seek further study at the doctoral level if pursuing careers in higher education.

Levels of Study

Students should register for the appropriate Performance Applied Music course. Teacher permission is required for admittance:

● MUSP 1111 is for students who are non-music majors or music minors.

● MUSP 1112 is for freshman and transfer music majors, as well as those who have not tested or passed the proficiency for upper level study.

● MUSP 3111 is for non-majors or music minors who are classified as juniors or seniors, or for music majors seeking study of a secondary instrument.

● MUSP 3112 is for Music Education, Music Composition, or Music Industry majors who have passed the Proficiency Jury following the completion of the number of lower level applied lesson credits required for their degree plan.

● MUSP 3113 is for Music Performance or Jazz Studies majors who have passed the Proficiency Jury.

● MUSP 6111, 6112, 6113, and 6114 are for MM or MME graduate music students.

Important Studio Policies

A few of the most important Percussion Studio policies are listed below; please refer to the Applied Percussion Syllabus, Percussion Schlep Policy, Equipment Use Policy, Curriculum, and Studio Handbook for a complete list of all policies:

● All percussion majors who are required to register for applied lessons must participate in Percussion Ensemble. This may be done for credit or for no credit. The percussion faculty may grant an exemption to this requirement based on special circumstances.

● Due to its unrivaled access to educational and professional percussion resources, all percussion students are strongly encouraged to be active members of PAS. For more information on membership fees and benefits, visit https://www.pas.org/membership/individual#individual

● Attendance at all percussion activities (lessons, Percussion Seminar, guest clinics, recitals, concerts, etc.) is mandatory for all students enrolled in applied lessons. Please refer to the Applied Percussion syllabus for Attendance Policy details regarding excused absences, unexcused absences, and grade penalties.

● Percussion students are responsible for acquiring and personally owning a large number of materials, and should budget at least $200 per semester to obtain all necessary sticks/mallets, music, method books, and other items.

● Please refer to the Percussion Studio Handbook for policies regarding studio communication, the use of facilities and equipment, practice room reservations, facilities security, equipment transportation, and studio culture/behavior.

Performance Requirements

There are many performance requirements for students to fulfill each semester. Please refer to the information below, bearing in mind the requirements of your specific degree:

Percussion Seminar
All percussion majors registered for Applied Percussion must attend the weekly Percussion Seminar (Fridays from 12:00-12:50pm in FA 142) and perform in that seminar at least once per semester. Repertoire may either be finished projects or “works in progress.”

Tuesday Morning Recitals

After their first semester, all percussion majors must perform every semester on the Tuesday Morning Recital Series, which takes place in the Recital Hall at 11:00am on Tuesdays. Students who perform on a degree recital (their own or someone else’s), Honor’s Recital, or other studio recital are exempt that semester from this requirement. The format is a traditional recital for which the appropriate attire is required. All performances require consent of the major applied teacher by filling out the Tuesday Morning Recital Form found on the A-State Music Department Website under Current Students.

Juries
All students taking Applied Percussion, except those presenting degree recitals, are required to give a 10-minute juried performance during Finals week at the end of each semester, which will be given a grade based on the level of performance demonstrated at the jury (that grade accounts for 50% of the final class grade). The material performed during the jury will reflect the student’s progress during the semester and current level of achievement, and is determined in advance by the instructor.

Assessments

All juried performances (including pre-recital hearings, as outlined later in this document) shall be assessed by a panel of faculty members according to the following rubric:

Musicality- phrasing, historical style, musical style (can include stylistic approaches to drum set and hand drums)

Technique- stick/mallet grip, body positioning, playing motion, level of control when playing

Rhythm- accurate and clear presentation of written rhythms

Tempo- includes tempo maintenance as well as internal timing, tempo identification, and effective tempo changes

Dynamics/Balance- overall dynamic range, voicing/balance in keyboard playing, appropriate balance of all individual components in multiple percussion, timpani, hand drum, and drum set playing

Accuracy- correct pitch or sound type (i.e. conga strokes), primarily applies to keyboard instruments but could apply to any multiple-component playing (it’s possible to hit the wrong thing in timpani, multiple percussion, or drum set)

Sound Quality- stick/mallet/hand articulation (often dictated by implement choice), playing spots, stroke angle/speed/weight, instrument selection/placement

Intonation/Tuning- applies only to timpani unless an unusual instrument is involved (i.e. roto-toms, slide whistle)

Interpretation- can include aspects of the decision-making process, particularly in regards to multiple percussion setups, as well as stylistic interpretation (i.e. how much “swing” to play on drum set) and creative choices

Professionalism- communication, organization, attire, stage presence, appropriate equipment

A successful lower level student should demonstrate a basic understanding of all of the above areas throughout their performance, whereas a successful upper level student should demonstrate a strong basic approach throughout their performance and a successful graduate student should demonstrate an excellent approach throughout their performance. The Percussion Area benchmarks are that 75% of all music majors should meet the expectations listed above.

Upper Level Proficiency Exam
The Upper Level Exam is a double-length (20-minute) juried performance which must be passed in order to enroll in Upper Level Lessons (MUSP 3112 or 3113) and will take the place of the jury for those students who are attempting it. As with standard juries, the Exam will receive a grade which accounts for 50% of the final class grade.

BM/BME Upper Level Proficiency Exam Requirements
The Upper Level Proficiency Exam may be attempted at the conclusion of the second semester (for Music Performance majors) or third semester (for Music Composition, Music Education, Music Industry, or Jazz Studies majors) of lower-level study in place of a normal jury. The required materials for the Upper Level Exam are as follows (substitutions may be given at the instructor’s sole discretion):

Snare Drum:

● Demonstrate any of the 40 PAS International Drum Rudiments at a reasonable performance tempo, from memory (this requirement may be passed off in lessons prior to the exam)

● Demonstrate the musical application of various rudiments and concert techniques by performing an etude from Delécluse: Douze Etudes

Keyboard Percussion:

● Demonstrate any chromatic, major, or minor scale (natural, melodic, or harmonic), arpeggiated triad (major, minor, diminished, or augmented), or seventh chord (major, dominant, minor, half diminished, or fully diminished) at a reasonable performance tempo, ascending and descending two octaves, from memory (this requirement may be passed off in lessons prior to the exam)

● Sight-read melodic material using two mallets

● Demonstrate vibraphone-specific techniques by performing an etude from Friedman: Vibraphone Dampening and Pedaling (this requirement may be passed off in lessons prior to the exam)

● Demonstrate 4-mallet technical proficiency and interpretational artistry by performing a 4-mallet keyboard solo for marimba or vibraphone

Timpani:

● Demonstrate proper tuning and technique by performing a solo (I.e. works by Deane, Hochrainer, McCormick, or Bergamo) OR perform a stylistically diverse collection of three orchestral excerpts (I.e. symphonies by Haydn, Beethoven, and Tchaikovsky)

Drum Set (Music Industry majors only):

● Demonstrate swing drumming proficiency by playing a transcribed solo by a notable jazz drummer (this requirement may be passed off in lessons prior to the exam)

● Demonstrate stylistic versatility by playing rock/funk, swing, and Latin patterns with stylistically appropriate fills using examples from Igoe: Groove Essentials World Percussion/Hand Drums:

● Demonstrate basic hand drumming techniques (open/closed bass, tone, and slap strokes) and stylistic versatility by playing three varied conga patterns with appropriate fills or solos

Multiple Percussion (all majors except Music Industry):

● Demonstrate knowledge and application of multiple percussion techniques by performing a single movement from Kraft: English Suite or French Suite

Mid-Level Areas of Proficiency

Upon entering Upper Level lessons, all percussion majors must demonstrate continued growth in the areas of snare drum, keyboard, timpani, and multi-percussion/drum set, as well as proficiency in additional areas. These proficiencies may be demonstrated during a juried performance or during lessons, at the instructor’s discretion. FAILURE TO DEMONSTRATE THESE PROFICIENCIES WILL RESULT IN THE INSTRUCTOR WITHHOLDING PERMISSION FOR STUDENTS TO REGISTER FOR DEGREE RECITALS. These additional proficiencies are:

World Percussion/Hand Drums:

● Demonstrate basic hand drumming techniques (open/closed bass, tone, and slap strokes) and stylistic versatility by playing three varied conga patterns with appropriate fills or solos

Multiple Percussion (Music Industry majors only):

● Demonstrate knowledge and application of multiple percussion techniques by performing a single movement from Kraft: English Suite or French Suite

Drum Set (all majors except Music Industry):

● Demonstrate swing drumming proficiency by playing a transcribed solo by a notable jazz drummer (this requirement may be passed off in lessons prior to the exam)

● Demonstrate stylistic versatility by playing rock/funk, swing, and Latin patterns with stylistically appropriate fills using examples from Igoe: Groove Essentials

Upper Level Areas of Proficiency

At the end of the required number of semesters of Upper Level lessons, all percussion majors (regardless of concentration) are expected to be able to perform a number of proficiencies. These requirements may be passed at any time prior to the conclusion of Upper Level lessons, in coordination with the instructor. In most cases, the successful completion of all Upper Level juries and recitals will satisfy these requirements. These requirements can include:

Snare Drum:

● Advanced repertoire comparable to that in Delecluse: Douze Etudes or The Noble Snare

● Noteworthy orchestral excerpts

Keyboard Percussion:

● Advanced 4-mallet techniques, artistry, and literature on marimba and vibraphone

● Ragtime xylophone literature

● Noteworthy orchestral excerpts for xylophone, glockenspiel, and vibraphone

● Jazz vibraphone: a 12-bar blues in Bb and F (following the complete form) and a standard jazz chart, learning additional scales as needed (i.e. pentatonic, octatonic, blues, etc.)

Timpani:

● Advanced pedaling, playing techniques, and literature comparable to Carter: Eight Pieces

● Noteworthy orchestral excerpts

Multiple Percussion:

● Advanced solo and/or chamber repertoire comparable to Rzewski: To the Earth, Xenakis: Rebonds, or Crumb: Madrigals

Drum Set:

● Diverse styles including swing, rock, and latin patterns

● Sight-read a big band chart with proper set-ups and kicks

World Percussion/Hand Drums:

● Diverse styles including Afro-Cuban, West African, Celtic, and/or other kinds of drumming

Recital Requirements

Percussion majors may perform a half- or fill-length recital, which may or may not be required depending on the degree pursued, with instructor permission. Note that all Lower Level and Mid-Level Proficiencies must be passed in order to secure the instructor’s permission to register for a degree recital. A Pre-Recital Hearing must be completed for Dr. Graiser 4 weeks prior to the recital itself; the recital itself may be postponed as a result of failing this hearing. The Recital Hall should be reserved during the first part of the Fall semester for degree recitals, even if it takes place in the Spring semester. Please refer to the following guidelines for recital programming:

● Bachelor of Music (Performance) students are required to perform a Junior Recital (25 minutes of music) and a Senior Recital (45 minutes of music).

● Bachelor of Music Education and Bachelor of Music Industry students are required to perform a Junior Recital (25 minutes of music) and may perform an optional Senior Recital (25 minutes of music).

● Master of Music (Performance) students are required to perform a Graduate Recital (60 minutes of music) which must be accompanied by a scholarly document.

● Any half-length recital should include advanced repertoire for keyboard percussion, snare drum, and timpani. and either multiple percussion, drum set, or world percussion.

● Any full-length recital (with the exception of Jazz students) should include advanced repertoire for keyboard percussion, snare drum, and multiple percussion. Additional pieces for those instruments, timpani, drum set, or world percussion may also be included.

● Performance majors are required to program a small chamber ensemble piece on at least one recital; all other students may program a small chamber ensemble piece on their recital with the instructor’s permission.

● Students are highly encouraged to collaborate with student composers to create and premiere new works for percussion on recitals.

● Recital programs should be tailored to the specific professional goals of the student (i.e. pedagogical literature for future educators, preparing for graduate school auditions, playing jazz vibes or drum set in combos, solo/chamber projects, etc.). Unless you attend graduate school, this will likely be the last time you have the chance to prepare a solo performance under the guidance of a percussion expert; make the most of this educational opportunity!

Area Guidelines

PIANO GUIDELINES

Follow this link for a PDF version of the guidelines below: Keyboard Area Guidelines 11.13.25.pdf

A-State Keyboard Degree Program Guidelines
Undergraduate and Graduate

Keyboard Students The following is an explanation of the expectations and procedures for keyboard majors at Arkansas State University. The motivation behind these guidelines is the desire of the A-State Department of Music to ensure that graduates are qualified and prepared at the highest possible level for professional endeavors appropriate to the degree program sought. These criteria pertain to students whose applied area of concentration is woodwinds.

DEGREES

Bachelor of Music (BM)

• Performance (P): This degree prepares students to pursue performance careers as soloists and collaborative performers in ensembles and to teach privately. Most students seek graduate work before embarking on their careers.

• Performance - Music Industry (MI): This degree prepares students to embark upon a professional career through a body of knowledge and skills in music industry and business. Many students will seek employment after graduating with this degree or continue with graduate work.

• Performance - Jazz Studies (JS): This degree prepares students to pursue jazz performance or composition careers. Most students seek graduate work before embarking on their careers.

Bachelor of Music Education (BME) - Instrumental Music or Vocal Music

This degree prepares students to teach music in grades K-12 in the state of Arkansas. Students often complete graduate study to pursue careers in higher education.

Master of Music in Piano Performance (MM) This degree provides advanced study in keyboard performance culminating in a graduate recital. It prepares students to pursue performance careers as soloists or collaborative artists and prepares them to teach privately or in higher education. Some students will continue their education with a doctoral degree.

Master of Music in Collaborative Piano Performance (MM) This degree provides advanced study in keyboard performance focusing on collaborative repertoire (pieces involving at least one other singer/instrumentalist), culminating in a graduate recital. It prepares students to pursue performance careers as collaborative artists and soloists prepares them to teach privately or in higher education. Some students will continue their education with a doctoral degree.

Master of Music in Piano Performance and Pedagogy (MM) • This degree provides advanced study in keyboard performance culminating in a graduate recital. It prepares students to pursue advanced coursework in piano pedagogy (the art of teaching piano) while also pursuing performance careers as soloists or collaborative artists. Some students will continue their education with a doctoral degree.

LEVELS OF STUDY

Lower Level MUSP 1111 Appropriate for students who are non-music majors or music minors who have not passed their Upper Level Proficiency.

MUSP 1112 Appropriate for freshman music majors, as well as those who have not passed the Upper Level Proficiency for upper level study.

Upper Level MUSP 3111 Appropriate for non-majors who are classified as juniors or seniors, or for music majors seeking study of a secondary instrument.

MUSP 3112 Appropriate for music majors (MI or BME) who have passed their Upper Level Proficiency.

MUSP 3113 Appropriate for music majors (P or JS) who have passed their Upper Level Proficiency.

Graduate MUSP 6111, 6112, 6113, 6114

Appropriate for graduate music majors (MM or MME) students.

REPERTOIRE REQUIREMENTS Repertoire will be assigned based on the musical and technical skills and needs of the individual student. The level of preparation and performance will be reflected in the final grade each semester.

PERFORMANCE REQUIREMENTS There are various performance opportunities for students each semester. Many are required based on the degree program and are outlined below.

Tuesday Morning Recitals All students majoring in BME, BM (Performance, Music Industry or Jazz Studies), or MM - Performance (Concentration in Piano; Concentration in Collaborative Piano, Concentration in Piano Performance and Pedagogy) who are enrolled in MUSP 1112, 3112, 3113, or 6112 as their primary instrument must perform a solo on a Tuesday Morning Recital once a semester. Exemptions may be granted to first semester freshman, or those that perform a solo on a studio recital or other recital. These recitals involve all applied areas and occur periodically in the Recital Hall on Tuesdays at 11:00 AM. The format is a traditional recital for which the appropriate attire is required. All performances require consent of the major applied teacher by filling out the Tuesday Morning Recital Form found on the A-State Music Department Website under Current Students.

Studio Class For piano majors, perform at least three times per semester. At least once must be from memory. For non-piano majors, at least once per semester. Collaborative performances are welcome. The same pieces may be repeated several times, to gain performance experience.

Preparation/Memorization Schedule: For piano majors, make this for each solo piece that will be memorized, for entire semester, due 2^nd week of the semester. Include:

Dates by which you will learn each section/piece accurately and in a consistent slow tempo, with metronome marking. This will also be the date by which you’ll have all fingerings written in for that section/piece, and all translations of terms in languages other than English.
Dates by which you will learn each section/piece accurately and up to tempo, with metronome marking.
Dates by which you will complete a Memorization Chart for each piece. Will include a measure-by-measure survey of each piece, including form, harmonic analysis, unusual features, memory landmarks, etc.
Dates you’ll play in Studio Class, including performances using music and from memory

Jury At the end of each semester of piano or organ study, students will perform a jury as a final exam before the keyboard faculty. The repertoire will be selected together with the applied teacher. The faculty will select the appropriate number of pieces from the repertoire list to be performed. BM and BME will be ten minutes long and ask for a minimum of five minutes of music be prepared, unless it is a Upper Level Proficiency jury. (See below for more information on Upper Level Proficiencies.) MM juries will be twenty minutes long and ask for a minimum of fifteen minutes of music prepared. A grade will be given by each faculty member, the average of which will be the jury grade. A Signup Form will be completed prior to the jury. It will list your repertoire and technical studies from the semester and include links to full scores of your jury repertoire. Attributes of a fine jury performance demonstrate mastery of musicality, technique, rhythm, tempo, dynamics, tone quality, voicing/balance, pedaling, articulation, interpretation, and professionalism. Exception from a jury requirement may be granted when successfully performing a recital (half, full, or graduate) and passing a recital hearing.

The jury evaluation (including recital hearings and exit juries) follows a specific rubric, which is detailed below:

Musicality: A performer’s knowledge, skill, and artistic sensitivity in performing music.

Technique: A performer’s agility, fluency, and clarity moving through the range of the instrument. Students will also be evaluated on scales, arpeggios, and chord progressions appropriate for their level. See specific guidelines below.

Rhythm: A performer’s ability to play the correct rhythm within the pulse given the style of the piece.

Tempo: A performer’s ability to play with a steady tempo at all times, demonstrating mastery of internal pulse. When appropriate, the performer executes other tempo directives (e.g. ritardando, accelerando) organically and thoughtfully.

Dynamics: A performer’s ability to consistently create a wide range of contrasting dynamic levels that are appropriate for the style of music being played.

Tone quality: A performer’s ability to create a tone that is consistently focused, clear, and resonant at all registers and dynamics.

Articulation: A performer’s ability to effortlessly employ a varied palette of note shapes appropriate for the musical context. The mechanical and physical sounds of the articulation do no impede or distract from the music.

Voicing/Balance: A performer’s ability to bring out a melody and play accompaniment figures in the background, and the ability to balance similarly between the hands as appropriate to the musical passage.

Pedaling: A performer’s ability to use pedal effectively within the style, and the ability to use the correct amount of pedaling, neither too much nor too little pedal.

Interpretation: A performer’s ability to play characteristically in the appropriate style of the piece(s) and demonstrate an understanding of other instrumental or vocal parts if applicable. Professionalism & Stage Presence: A performer’s ability to meet professional expectations while in the performance, space, including professional language, dress, stage presence, and demeanor.

Benchmarks have been set for each lesson level as a range for where students should aspire to:

1000 level: 40

3000 level: 60

6000 level: 70

*75% of music majors in each category should meet these benchmarks.*

PIANO JURY TECHNIQUE REQUIREMENTS

Arkansas State University

In consultation with the teacher, students may add additional technical requirements to their individual Jury.

PIANO MAJORS:

Freshman, Semester 1:

Pentascales: Choral warm-ups:

Play 1-2-3-4-5-4-3-2-1 CHORD, CHORD, go up by ½ steps

All Major Scales, 4 octaves, in sixteenth notes, quarter note = 60
All Major Arpeggios, 4 octaves, in triplets, quarter note = 60
All Major Chords and Inversions

Freshman, Semester 2:

All Major Scales in 3rds, and all Harmonic Minor Scales, 4 octaves, in sixteenth notes, quarter note = 60
All Minor Arpeggios, 4 octaves, in triplets, quarter note = 60
I – IV – I - V- I in all Major keys

Barrier/Admission to Upper Level

All Major Scales and Harmonic Minor Scales, 4 octaves, in sixteenth notes, quarter note = 72
All Major and Minor Arpeggios, 4 octaves, in triplets, quarter note = 72
All Major Chords and Inversions
I – IV – I - V- I in all Major keys

Sophomore, Semester 1:

All Major Scales in 10^ths and all Natural Minor Scales, 4 octaves, in sixteenth notes, quarter note = 72
All Major and Minor Arpeggios in Inversions, in triplets, quarter note = 60
I - IV- I - V7 - I in all Major keys
Review all technique from previous semesters, quarter note = 72

Sophomore, Semester 2:

All Major Scales in 6ths, and all Melodic Minor Scales, 4 octaves, in sixteenth notes, quarter note = 72
All Diminished 7^th Arpeggios, 4 octaves, in sixteenth notes, quarter note = 60
i – iv – i – V – i in all Minor keys
Review all technique from previous semesters, quarter note = 80

Junior, Semester 1:

All Major Scales in Contrary Motion, in sixteenth notes, quarter note = 72
All Dominant 7^th Arpeggios, 4 octaves, in sixteenth notes, quarter note = 60
i – iv – i – V7 – i in all Minor keys
Review all Major and Minor Scales (3 forms) and Arpeggios in parallel motion, quarter note = 90

Junior, Semester 2:

All Minor Scales in Contrary Motion, in sixteenth notes, quarter note = 72
All Major and Minor Arpeggios in Contrary Motion, in triplets, quarter note = 72
I - IV- I - V7 - I in all Major keys, with Inversions
Review all Major and Minor Scales (3 forms) and Arpeggios in parallel motion, quarter note = 100

Senior, Semester 1:

All Harmonic Minor Scales in 3rds and 10ths, in parallel motion, quarter note = 120
Review all Major and Minor Arpeggios in parallel motion, quarter note = 110
i – iv – i – V7 – i in all Minor keys, with Inversions

Senior, Semester 2:

All Harmonic Minor Scales in 6ths, in parallel motion, quarter note = 120
All Major and Harmonic Minor Scales in Octaves, sixteenth notes, quarter note = 55
All Major and Minor Arpeggios in Parallel and Contrary Motion pattern, in triplets, quarter note = 72 (Up 2 octaves – Out 2 octaves – In 2 octaves – Up 2 octaves – Down 2 octaves - Out 2 octaves – In 2 octaves – Down 2 octaves)
Review Diminished 7^th and Dominant 7^th Arpeggios in all keys, quarter note = 120

Graduate, Semester 1:

Fill in any gaps from Undergraduate levels above
Same as Senior, Semester 2

Graduate, Semester 2:

Fill in any gaps from Undergraduate levels above
Major Scales in Parallel and Contrary Motion Pattern (Up 2 octaves – Out 2 octaves – In 2 octaves – Up 2 octaves – Down 2 octaves - Out 2 octaves – In 2 octaves – Down 2 octaves)

Graduate, Semester 3:

Technique as assigned by Instructor

Graduate, Semester 4:

Technique as assigned by Instructor

NON-PIANO MAJORS:

Instructor will approve appropriate level in which to begin study.

Metronome markings will be determined by the instructor. Students should play at the tempo at which they can play evenly and accurately, without hesitations.

Semester 1:

Pentascales: Choral warm-ups:

Play 1-2-3-4-5-4-3-2-1 CHORD, CHORD, go up by ½ steps

Cross-Hand Arpeggios in all Major and Minor keys
Chords and Inversions in all Major Keys, with correct fingering

Semester 2:

Also serves as Barrier/Admission to Upper Level. Repertoire should be Bach Minuet in G, Schumann easier pieces from Album for the Young, and similar.

2-Octave Scales with thumb turns, B, Db, F# Major
2-Octave Arpeggios with thumb turns, all white note keys
I-IV-I-V7-I Cadences in C, G, F Major
Review all technique from previous semester

Semester 3:

2-Octave Scales with thumb turns, in C, G, D, A, E Major
2-Octave Arpeggios with thumb turns, Eb, Ab, Db
I-IV-I-V7-I Cadences in D, A, E Major
Review all technique from previous semesters

Semester 4:

2-Octave Scales with thumb turns, in F, Bb, Eb, Ab Major
2-Octave Arpeggios with thumb turns, F#, Bb
I-IV-I-V7-I Cadences in Db, Eb, F#, Ab, Bb Major
Review all technique from previous semesters

Semester 5, or for those who have completed all Keyboard Skills classes:

Do requirements for Freshman Piano Majors, Semester 1 above. May be done hands separately or together.

Upper Level Proficiency Admittance to the Upper Level of Applied Lessons (MUSP 3112 or 3113) will not be granted until the Upper Level Proficiency has been successfully completed. Minimum expectations include demonstration of certain musical skills and reasonable development while performing literature which the woodwind faculty deems appropriate. An Upper Level Proficiency is typically attempted at the same time as keyboard juries. A BM (MI), and BME student will typically attempt this at the end of their third semester of applied study. A BM (P or JS) student will typically attempt this at the end of their second semester of applied study. The Upper Level Proficiency will consist of a 20-minute jury with a minimum of two keyboard faculty evaluating. A vote of the woodwind faculty present is required for granting or denying admission to the Upper Level (MUSP 3112 or 3113). If granted admission, the student will enroll in Upper Level lessons for the following semester and will proceed through the appropriate courses. Repertoire presented should be approximately 12-15 minutes of music selected by the applied teacher from the current semester. Scales could be a requirement in front of the keyboard faculty or to be performed prior to the jury for the applied teacher only, as is at the discretion of the applied teacher.

A BME and BM (MI) must complete a minimum of 6 credits at upper level (MUSP 3112). A BM (P and JS) must complete a minimum of 18 credits at upper level (MUSP 3113)

Recital Requirements All students seeking the BM Degree in Keyboard Performance and Jazz Studies must present a Half Recital (MUSP 3130) and a Full Recital (MUSP 4131). All students seeking the BME Instrumental Degree and BM in Music Industry must present a Half Recital (MUSP 3130).* The student is responsible for establishing the date and time of the degree recital in consultation with the major applied teacher as well as notifying their recital committee of the date, time, and venue no later than four weeks prior to the recital and recital hearing. The Half Recital should contain approximately 25 minutes of music with no intermission; the Full Recital must contain at least 45 minutes of music and may include a brief intermission. All students seeking the MM Degree with concentrations in Piano Performance, Collaborative Piano Performance, or Piano Performance and Pedagogy must present a Graduate Recital MUSP 6131. The Graduate Recital should contain approximately 50 minutes of music with an intermission. Repertoire for recitals will be selected by the teacher and student.

Scheduling: The student must work with their applied teacher to schedule their recital. Fall recitals should be scheduled by September 5 and spring recitals should be scheduled by December 1. Scheduling a recital after these dates will not be guaranteed and could delay graduation. To schedule a recital, students should use the Recital Date Request Form in collaboration with the Scheduling Calendar.

Recital Hearing: This must take place at least two weeks prior to the Half and Full Recitals. It will be performed for a committee of of the student’s applied teacher and at least one other member of the faculty. It is the responsibility of the student to assemble the committee, schedule the hearing date, and reserve the venue. The purpose of the hearing is to determine the readiness of the student to perform the recital repertoire. The student should be prepared to perform any selections on the recital (a portion of each piece will be heard). A typed draft of the recital program and program notes will be presented at this time for grading. As a general rule, program notes should consist of roughly two paragraphs for each piece. If information is taken from a composer’s website, it must be indicated, and quotes must be cited in text (i.e. Mozart’s biographer Donald Minx said…) The hearing must be passed in order to present the Half or Full Recital. If the hearing is failed the recital must be rescheduled or postponed. The recital hearing rubric is the same as the jury rubric.

Literature: All recitals must include literature chosen by the teacher in consultation with the student. Varied styles should be represented for all recitals. All pieces programmed for any recital must have teacher approval. Some literature may be from previous semesters of study.

Evaluation: For Undergraduate students the recital assessment takes place at the recital hearing. Following the hearing, the faculty in attendance will determine whether the student has met the requirements for the Half or Full Recital. If the requirements are not met, the recital must be rescheduled or postponed. If the new recital date takes place after the last day of classes in the semester an Incomplete (I) for the course (MUSP 3130 or MUSP 4131) will be given. The applied teacher will give the final grade for the recital. If the recital is not completed in due time, the grade will be recorded as “F.”

Area Guidelines

STRINGS GUIDELINES

Area Guidelines

COMPOSITION GUIDELINES

Follow this link for a PDF version of the guidelines below: Composition Area Guidelines 11.18.25

COMPOSITION AREA GUIDELINES
(rev. November 20, 2025)

I. LESSONS, SEMINAR, AND JURY

Weekly Applied Lessons. Students enrolled in composition courses will meet privately once per week with their teacher. These sessions will not only include a discussion and critique the the student’s musical composition projects, but also the study of contemporary music styles and scores, documented listening journals, and relevant readings as assigned. Ear training and conducting challenges of contemporary music will also be considered.

Seminar. A formal seminar session will be held weekly and all composition majors are expected to attend; composition faculty will facilitate these sessions. These classes provide an opportunity to discuss a variety of pertinent topics, listen and critique creative works of colleagues, and inform the class of upcoming performances. Seminar meeting times will be determined each semester, and meeting times will be tied to Applied Lessons grading.

Composition Jury. All composition majors are required to submit creative works to a Jury panel for the final exam at the end of each semester. This Jury is comprised of the theory/composition teachers and additional evaluators totaling 3 to 4. The review by the committee provides students with additional critiques of their compositions and offers helpful comments to the teacher for the final semester grade. Students who have given a recital of their compositions during the current semester are exempt from this Jury requirement.

Electronic Music Applied Lesson. The A-State Electronic Music Studio is located in the Fine Arts Center, room 207. This lab offers the students the means of researching the parameters of music, such as texture, timbre, density, and spatialization, as the primary building blocks for a musical composition. At least one semester of dedicated study of electronic music is suggested, as the development of skills in this alternative method to complement the conventional process is required of all composition major (in alignment with NASM standards). Furthermore, the Senior Recital must include a mixture of acoustic works and at least one electronic piece composed in the A-State Electronic Music Studio.

II. REQUIRED RECITALS

Recital Production should include the following eight components:

Full Score and Individual Parts Production - Scores and parts should be prepared well in advance of the performance and should be at publication standard.
Recital Scheduling - The student will work with their primary composition teacher to reserve a recital date using the Department of Music’s online scheduling resources.
Acquiring Performers/A-State Composers-Performers’ Contract - See the primary composition teacher regarding this contract, which must be delivered and signed by all students involved in the composition performance (e.g. the students’ all applied teachers, the composition student, the composition student’s applied professor).
Rehearsal Scheduling - Consult your teacher in forming a rehearsal schedule that is appropriate for a successful performance. Secure available spaces for rehearsal. Composers must attend every rehearsal, offering direction in interpretive issues. Composes must be open to feedback from performers and be prepared to be collaboratively responsive.
Conducting - in some cases, a conductor is required, although the student composer should always be prepared to conduct if necessary.
Promotion - Prepare flyers, take pictures, additive thought social media, arrange interviews with various media and invites friends and family. A concert program must be submitted to the primary composition teacher a minimum of 3 weeks before the recital for proofing.
Dress Rehearsal - Arrange for assistance with the consideration of stage changes, concert attire, and other necessary logistics.
Recital - All composers should devise, with the assistance of the instructor, spoken comments and program notes that present an artistic statement on the recital program. Consider having a reception or post-recital gathering/celebration for composers and performers.

Senior Recital - A Senior Recital is required. This recital should consist of works written during the study of composition at A-State. It should be a full program with significant compositional works staged, with an approximate length of 45 minutes of music presented. Large ensemble works with performances or readings (e.g., band, choir, jazz band, etc.) may be considered for fulfilling a portion of the required Senior Recital.

Semester Composition Recitals - These programs provide students with an opportunity to hear their works performed during a formal recital. Composition majors who are not preparing a Senior Recital must participate in these programs. Works for these recitals can be from current or prior semesters. The composition faculty will set dates for these recitals in advance and announce them in Seminar at the start of each semester.

Tuesday Morning Recitals - These events provide an additional opportunity for composers to present their work, and students should aim to have at least 1 work performed on a TMR every semester.

III. TOPICS CONCERNING REHEARSAL AND PERFORMANCE

Rehearsals. All rehearsals must be arranged by the composition student. Consult the Scheduling Calendar under Important Links on the Music Website to determine the availability of specific rooms for rehearsals. In consultation with the performers, establish a schedule and reserve a room using the Event Scheduling Form online. When first contacting a performer for collaboration, the composer must establish a clear delivery date for performance materials, a rehearsal schedule and performance date, and any other pertinent information, in WRITTEN form to each performer, with the teacher included in all relevant email chains.

Score Production. The composition student must make sure that pieces are complete in readable form and delivered to the performers in due time, a minimum of 1 month before the performance. Pieces of varying difficulty should be carefully considered for ample time resulting in optimum performance. Performers should receive their individual part, as well as a full score for reference. When possible, a MIDI rendering of the work should also be provided to the performers to expedite the learning process.

Percussion Equipment. Make arrangements for the use of ALL percussion equipment with the percussion faculty. Composition students will want to consult with the teacher regarding intentions to use certain equipment prior to actually writing the music. This will help to avoid problems with access or availably of necessary percussion equipment.

Prepared Piano. Discuss plans for a prepared piano piece with the Director of keyboard Studies at A-State before beginning such a project. Be specific as to what would be done to the piano; if an agreement is reached, then composition may commence. Please note that composers are prohibited from placing marbles or other loose objects inside the piano.

Professional Courtesy. Any composition major who treats a performer in an unprofessional manner will be reprimanded by the composition faculty. All performers should be treated with the utmost respect. Should problems arise during the rehearsal of a piece, the composition student should report directly to the composition teacher. These problems include lateness, lack of practice, personality conflicts, and other unfortunate occurrences that disrupt the rehearsal process. It is important that a student allow the composition teacher to mediate any problems concerning performers with the applied teacher if necessary.

IV. OTHER TOPICS

Composition Teachers. Composition students will retain a primary teacher for the duration of their program of study in music. While the student will retain this primary teacher in their program, they are also encouraged to take a semester with one of the other composition faculty to foster diverse perspectives. This semester will be decided in advance through discussion between the student and teachers. N.B.–the primary composition teacher does not replace the formal advisor that is assigned to students.

Recital Attendance. Composition students are expected to support student peers and composition faulty by attending all A-State performances of their works. Composition students should also attend programs involving faculty of students who have assisted in performance of their own works. Attendance at these recitals will be tied to part of the Applied Lessons grading rubric.

CAI (Computer Assisted Instruction) Lab. The CAI Lab is available for use by A-state student composers. The lab is equipped with music notation software installed on every computer. The use of music notation software (MuseScore or Dorico) is required for all students enrolled in composition.

Composition Message Board. The Composition Message Board is located in front of room 206 in the Fine Arts Center. Students should check regularly for notices of recitals, performance, possibilities, and competitions. All composition students are strongly encouraged to have their music played off-campus, and to attend new music performances in the area.

Calls for Scores. Students are encouraged to frequently check the following websites for Calls for Scores: The Composer’s Site and American Composers Forum. Both of these websites provide an extensive and continuously updated list of opportunities to submit music for performance at festivals, conferences, workshops, and more.

Online Portfolio. Over the course of study, students should develop an online portfolio of their work. This should include recordings of performances at a minimum, and can take the form of a website or other social media presence.

Area Guidelines

VOICE GUIDELINES

Follow this link for a PDF version of the guidelines below: Voice Area Guidelines 11.13.25

VOICE AREA GUIDELINES

A-State Voice Majors, Secondary Students, and Elective Enrollment

The following is an explanation of the expectations and procedures for voice majors at Arkansas State University. The purpose of these guidelines is to ensure that graduates are qualified and prepared at the highest possible level for professional endeavors appropriate to the degree program. These criteria pertain to students whose applied area of concentration is voice.

ENTRANCE REQUIREMENTS

Admission—Prospective students must meet the admission requirements of the university as noted in the bulletins.

Auditions—Prospective voice students must audition for the voice and choral faculty prior to initial admission to the degree. At the discretion of the applied faculty member, a three to five member committee will be convened to hear the audition. Students will be notified individually regarding audition results.

Graduate Student IPA Exam—At the time of the audition, all candidates for the Master of Music in Voice Performance will take an exam (written and oral) to determine proficiency with English, German, Italian and French pronunciation for singing. The written exam will include transcription of these languages using the International Phonetic Alphabet (IPA). If a passing score (70%) is not attained, enrollment in Diction I (MUS 3211) and Diction II (MUS 3221) will cover the deficiency.

LEVELS OF STUDY

Lower Level (MUSP 1111) is appropriate for the following:

Students taking Applied Voice as an elective who have not passed the Upper Level Proficiency Exam.

Lower Level (MUSP 1112) is appropriate for the following:

All beginning freshmen or transfer students
Students who have changed their major and have not yet completed 4 credit hours of vocal study, including those changing applied majors within the area of performance (i.e. trumpet to voice, piano to voice, etc.)
Students who have not yet passed the Proficiency Exam

Upper Level (MUSP 3112) is appropriate for the following:

Bachelor of Music Education students who have passed the Proficiency Exam after at least 6 credit hours of vocal study.
Bachelor of Music – Music Industry students who have passed the Proficiency Exam after at least 6 credit hours of vocal study.

Upper Level (MUSP 3113) is appropriate for the following:

Bachelor of Music – Performance students who have passed the Proficiency Exam after at least 4 credit hours of vocal study.

Graduate Level (MUSP 6111 or 6112) is appropriate for the following:

Graduate students taking Applied Voice as an elective.

Graduate Level (MUSP 6112) is appropriate for the following:

Master of Music – Performance (Voice) students

REPERTOIRE REQUIREMENTS

Bachelor of Music - Performance & Bachelor of Music Education

Lower Level: standard English and Italian repertoire

Upper Level: standard English, Italian, French and German repertoire

Graduate Level: expectation beyond the standard literature

Bachelor of Music – Music Industry & Bachelor of Arts in Theatre

Lower Level: Contemporary, pop, country, musical theatre, classical, etc. that supports the student’s vocal growth and goals in collaboration with the instructor’s discretion and expertise.

Upper Level: Contemporary, pop, country, musical theatre, classical, etc. that supports the student’s vocal growth and goals in collaboration with the instructor’s discretion and expertise.

Lower Level (1 credit hour) at least 4 memorized pieces per semester

Lower Level (2 credit hours) at least 6 memorized pieces per semester

Upper Level (2 credit hours) at least 6 memorized pieces per semester

Upper Level (3 credit hours) at least 8 memorized pieces per semester

Graduate Level (2 to 3 credits) 8 to 11 memorized pieces per semester

The above repertoire requirements are the minimum to be accomplished each semester from memory. The student and teacher will select literature in various languages, genres and contrasting styles. As each student progresses, the difficulty of the repertoire assigned will increase. Failure to learn and/or perform the selected repertoire at the appropriate level will affect the final applied lesson grade.

COLLABORATIVE PIANIST REQUIREMENTS

All voice students will be assigned a collaborative pianist by the appropriate coordinator for lessons, studio classes, juries, recitals and other performances. Collaborative Pianist Guidelines are available in the Music Student Handbook.

PERFORMANCE REQUIREMENTS

All formal performances (Tuesday Morning Recitals and degree recitals) are evaluated by means of a rubric specifically designed for voice majors. See the Voice Area Performance Assessment at the end of this document. Students may receive an assessment of performances from applied teacher(s) once the results are available toward the end of the semester.

Students will be evaluated based on the components outlined below (also see Rubric at end of this document):

Musical Elements: rhythm, pitch, tempo, dynamics, accurate memorization
Mastery of Instrument: tone quality, intonation, breath management, efficient phonation, resonance, diction (vowels), diction (consonants)
Presentation: clear interpretation, body alignment, performance etiquette, collaborative communication

Studio Classes will occur on a weekly basis. Each is typically conducted as a master class in which members of the voice faculty will critique the performers; pedagogical aspects of the instrument will also be covered.

Student Recitals (Tuesday Morning Recitals) involve all applied areas and occur regularly in the Recital Hall on Tuesdays at 11:00am. The format is a traditional recital for which the appropriate attire is required. Normally, singers perform two pieces of contrasting styles on one recital. All performances require consent of the major applied teacher by filling out the Student Recital Information Form.

All students must perform in at least 3 Studio Classes and 1 Student Recital per semester. First Semester Freshmen may be excused from the student recital performance.

JURIES

At the end of each semester of vocal study, students will perform a Jury (final exam) before a majority of the voice faculty or Jury Committee. The number of works offered correlates directly with the minimum repertoire requirements for the semester. The Jury Committee (excepting the student’s teacher) will select the appropriate number of pieces from the repertoire list to be performed. For the typical Jury, a grade will be given by each faculty member, the average of which will be the jury grade. An Applied Lesson Record will be presented to the Jury Committee by each teacher. A final grade will be determined by the major applied teacher based on the jury grade, input from the Jury Committee, and the student’s progress throughout the semester. Exceptions to the jury requirement include students giving a degree recital in the same semester.

In specified semesters, the Jury may include a more extensive exam: a Proficiency Exam or an Exit Proficiency Exam. The Proficiency Exam permits study at the upper level. The Proficiency Exam will be 15 minutes in length and may be repeated in subsequent semesters until admission is granted. The Exit Proficiency is similar to a half recital and will be 30 minutes in length; however, it is performed before a Jury instead of the public. Failed attempts will result in extra semesters of enrollment. For the Proficiency Exam the student will present the Jury Committee with a semester-by-semester list of repertoire studied and performed to that point (3 semesters for BME and BM Industry; 2 semesters for BM-Performance). For the Exit Proficiency Exam (BM Industry), a complete list of all repertoire studied and performed during the student’s course of vocal study will be presented to the Voice Faculty.

* BM Performance students who are unable to pass the Proficiency after four semesters in the program will be recommended to change their major to a non-performance degree.

* Transfer students who have completed 6 or more credit hours of private vocal study at another institution (those with less than 6 credits may attempt the exam at the discretion of the advisor) and are seeking to begin at the Upper Level at Arkansas State University.

DEGREE RECITALS

Students of the following degree programs will include the performance of a half or full recital with teacher permission, even if not required. No matter what time of year the recital will occur, Recital Hall should be reserved during the first part of the fall semester for degree recitals. Stipulations for voice majors are as follows:

Bachelor of Music Performance Half Recital: 25 min. required

Full Recital: 45 min. required

Bachelor of Music Education Exit Recital: 25 min. required

Bachelor of Music Industry Half Recital: 25 min. required

Master of Music Graduate Recital: 50 min. required

Recital Hearings

All students must perform a pre-recital hearing for the voice faculty to determine the readiness to perform the recital repertoire. For undergraduates, the hearing is four weeks prior to the Half, Exit, or Full Recitals; for graduate students, the hearing is six weeks prior to the Graduate or Exit Recital. The student should be prepared to sing any selections on the recital from memory with the collaborative pianist and all other musicians programmed for the performance. For a typical hearing, a portion of each set will be heard, including different stylistic periods and languages. A typed draft of the recital program will be presented at this time as well as notes and translations. In addition, a complete list of all repertoire studied and performed during the student’s course of vocal study will be presented to the Voice Faculty. The hearing MUST be passed by a majority of the voice faculty in order present in order to perform the Degree Recital.

Recital Literature

Recitals for BM Performance, BME Vocal, and MM Voice will consist of a cohesive arrangement of German, French, Italian, and English art song and at least one aria from opera or oratorio. The Half and Exit Recitals will consist of a cohesive arrangement of German and French art song, at least one aria either from an opera or an oratorio, and various selections in English, Italian or any other language. Variations of these provisions may be made at the discretion of the teacher. The Full and Graduate Recitals will follow the same guidelines, plus at least one aria from an opera and an oratorio must be performed. The Baroque, Classical, Romantic and Contemporary eras will be covered for all Degrees Recitals. All pieces programmed for any recital must have teacher approval. Some literature may be from previous semesters of study; however, the repertoire requirements for the applied lessons must be met and presented within the recital. NOTE: It is customary for music to be held for selections from oratorios.

Recital Evaluations

The Recital Committee, composed of full-time Voice/Choral faculty, will convene within two days of the performance. After discussion, each committee member will decide pass/fail and make comments. The recital must be approved by approval

of a majority the committee. If the result is “fail” the committee may ask the student to give the recital again in in. that semester or the following with possible changes in repertoire. In such a case, a grade of “I” (“incomplete”) will be assigned. If the recital is not completed in due time, the grade will be recorded as “F.”

Recital Recordings

Recordings are available upon request at least two weeks prior. See teacher for details.

	Absent/RareElement/skill is absent or rarely executed correctly. 1	Sometimes Element/skill is sometimes executed correctly. 2	Usually Element/skill is usually present or executed correctly. 3	Always Element/skill is consistently present or executed. 4
Musical Elements
Rhythm
Pitch
Tempo
Dynamics
Accurate Memorization
Mastery of Instrument
Tone Quality
Intonation
Breath Management
Efficient Phonation
Resonance
Diction – Vowels
Diction – Consonants
Presentation
Clear Interpretation
Body Alignment
Performance Etiquette
Collaborative Communication

A-State Voice Area Performance Assessment

__ / 64

Minimally acceptable score for students in Lower Level (MUSP 1111, 1112) = 40

Minimally acceptable score for Upper Level (MUSP 3111, 3112, 3113) = 56

Area Guidelines

WOODWIND GUIDELINES

Follow this link for a PDF version of the guidelines below: Woodwind Guidelines 12.11.25

A-State Woodwind Degree Program Guidelines
Undergraduate and Graduate Woodwind Students

The following is an explanation of the expectations and procedures for woodwind majors at Arkansas State University. The motivation behind these guidelines is the desire of the A-State Department of Music to ensure that graduates are qualified and prepared at the highest possible level for professional endeavors appropriate to the degree program sought. These criteria pertain to students whose applied area of concentration is woodwinds.

DEGREES

Bachelor of Music (BM)

Performance (P): This degree prepares students to pursue performance careers as soloists and collaborative performers in ensembles. Most students seek graduate work before embarking on their careers.
Performance - Music Industry (MI): This degree prepares students to embark upon a professional career through a body of knowledge and skills in music industry and business. Many students will seek employment after graduating with this degree or continue with graduate work.
Performance - Jazz Studies (JS): This degree prepares students to pursue jazz performance or composition careers. Most students seek graduate work before embarking on their careers.

Bachelor of Music Education (BME) - Instrumental Music

This degree prepares students to teach music in grades K-12 in the state of Arkansas. Students often complete graduate study to pursue careers in higher education.

Master of Music in Performance (MM)

This degree provides advanced study in instrumental performance culminating in a graduate recital. It prepares students to pursue performance careers as soloists, collaborative performers in ensembles, and prepares them to teach privately or in higher education. Some students will continue their education with a doctoral degree.

LEVELS OF STUDY

Lower Level

MUSP 1111

- Appropriate for students who are non-music majors, music minors, or those seeking the Bachelor of Arts in Music who have not passed their Upper Level Proficiency.

MUSP 1112

- Appropriate for freshman music majors, as well as those who have not passed the Upper Level Proficiency for upper level study.

Upper Level

MUSP 3111

- Appropriate for non-majors who are classified as juniors or seniors, or for music majors seeking study of a secondary instrument.

MUSP 3112

- Appropriate for music majors (MI or BME) who have passed their Upper Level Proficiency.

MUSP 3113

- Appropriate for music majors (P or JS) who have passed their Upper Level Proficiency.

Graduate

MUSP 6111, 6112, 6113, 6114

- Appropriate for graduate music majors (MM or MME) students.

REPERTOIRE REQUIREMENTS

Repertoire will be assigned based on the musical and technical skills and needs of the individual student. The level of preparation and performance will be reflected in the final grade each semester.

PERFORMANCE REQUIREMENTS

There are various performance opportunities for students each semester. Many are required based on the degree program and will be outlined below.

Tuesday Morning Recitals

All students majoring in BME, BM (Performance, Music Industry or Jazz Studies), or MM - Performance (Concentration in Woodwind) who are enrolled in MUSP 1112, 3112, 3113, or 6112 as their primary instrument must perform a solo on a Tuesday Morning Recital once a semester. Exemptions may be granted to first semester freshman, or those that perform a solo on a studio recital or other recital such as Honors Recital or solo recital. Solos are defined as works for unaccompanied instrument or works for one instrument and keyboard. These recitals involve all applied areas and occur periodically in the Recital Hall on Tuesdays at 11:00 AM. The format is a traditional recital for which the appropriate attire is required. All performances require consent of the major applied teacher by filling out the Tuesday Morning Recital Form found on the A-State Department of Music Knowledge Base under Current Students.

Studio Class

The major professor may require attendance and performance at Studio Class or other master classes. Students should consult their applied teacher for the studio requirement.

Jury

At the end of each semester of woodwind study, students will perform a jury on their primary instrument as a final exam before the woodwind faculty. The repertoire will be selected together with the applied teacher. The faculty will select the appropriate number of pieces from the repertoire list to be performed. BM, BME, and MME juries will be ten minutes long and ask for a minimum of five minutes of music be prepared, unless it is a Upper Level Proficiency jury. (See below for more information on Upper Level Proficiencies.) MM juries will be twenty minutes long as ask for a minimum of fifteen minutes of music prepared. A grade will be given by each faculty member, the average of which will be the jury grade. A Repertory Form will be completed prior to the jury. It will list your repertoire and technical studies from the semester and include links to full scores of your jury repertoire. Attributes of a fine jury performance demonstrate mastery of musicality, technique, rhythm, tempo, dynamics, tone quality, intonation, articulation, interpretation, and professionalism. Exception from a jury requirement may be granted when successfully performing a recital (half, full, or graduate) and passing a recital hearing.

The jury evaluation (including recital hearings and exit juries) follows a specific rubric, which is detailed below:

Musicality: A performer’s knowledge, skill, and artistic sensitivity in performing music.

Technique: A performer’s agility, fluency, and clarity moving through the range of the instrument.

Rhythm: A performer’s ability to play the correct rhythm within the pulse given the style of the piece.

Dynamics: A performer’s ability to consistently create a wide range of contrasting dynamic levels that are appropriate for the style of music being played.

Tone quality: A performer’s ability to create a tone that is consistently focused, clear, and resonant at all registers and dynamics.

Intonation: A performer’s ability to demonstrate absolute physical and mental control over intonation both melodically and harmonically.

Articulation: A performer’s ability to effortlessly employ a varied palette of note shapes appropriate for the musical context. (The means that the student has considered the beginning, middle, and end of the each note.). The mechanical and physical sounds of the articulation do no impede or distract from the music.

Interpretation: A performer’s ability to play characteristically in the appropriate style of the piece(s) and demonstrate an understanding of other instrumental or vocal parts if applicable.

Professionalism & Stage Presence: A performer’s ability to meet professional expectations while in the performance, space, including professional language, dress, stage presence, and demeanor.

Benchmarks have been set for each lesson level as a range for where students should aspire to:

1000 level: 40

3000 level: 60

6000 level: 70

*75% of music majors in each category should meet these benchmarks.*

Upper Level Proficiency

Admittance to the Upper Level of Applied Lessons (MUSP 3112 or 3113) will not be granted until the Upper Level Proficiency has been successfully completed. Minimum expectations include demonstration of certain musical skills and reasonable development while performing literature which the woodwind faculty deems appropriate. An Upper Level Proficiency is typically attempted at the same time as woodwind juries. A BM (MI), and BME student will typically attempt this at the end of their third semester of applied study. A BM (P or JS) student will typically attempt this at the end of their second semester of applied study.

The Upper Level Proficiency will consist of a 20-minute jury with a minimum of three woodwind faculty evaluating. A majority vote of the woodwind faculty present is required for granting or denying admission to the Upper Level (MUSP 3112 or 3113). If granted admission, the student will enroll in Upper Level lessons for the following semester and will proceed through the appropriate courses.

Repertoire presented should be approximately 12-15 minutes of music selected by the applied teacher from the current semester. The selected repertoire could include two etudes in contrasting styles and a solo OR two contrasting solos. At least one selection must have piano accompaniment. Scales could be a requirement in front of the entire woodwind faculty or to be performed prior to the jury for the applied teacher only, as is at the discretion of the applied teacher.

It is possible to receive a passing grade in Applied Lessons and still not pass the Proficiency. All students will remain at this Lower Level for as many semesters as necessary to pass the Proficiency. The Upper Level Proficiency may be repeated in subsequent semesters until admission is granted. Failed attempts could result in extra semesters of undergraduate enrollment. A BME and BM (MI) must complete a minimum of 6 credits at upper level (MUSP 3112). A BM (P and JS) must complete a minimum of 18 credits at upper level (MUSP 3113)

Recital Requirements

All students seeking the BM Degree in Woodwind Performance and Jazz Studies must present a Half Recital (MUSP 3130) and a Full Recital (MUSP 4131). All students seeking the BME Instrumental Degree and BM in Music Industry must present a Half Recital (MUSP 3130).* The student is responsible for establishing the date and time of the degree recital in consultation with the major applied teacher as well as notifying their recital committee of the date, time, and venue no later than four weeks prior to the recital and recital hearing. The Half Recital should contain approximately 25 minutes of music with no intermission; the Full Recital must contain at least 45 minutes of music and may include a brief intermission. All students seeking the MM Degree in Woodwind Performance must present a Graduate Recital MUSP 6131. The Graduate Recital should contain approximately 50 minutes of music with an intermission. Repertoire for recitals will be selected by the teacher and student.

Scheduling: The student must work with their applied teacher to schedule their recital. Fall recitals should be scheduled by September 5 and spring recitals should be scheduled by December 1. Scheduling a recital after these dates will not be guaranteed and could delay graduation. To schedule a recital, students should use the Recital Date Request Form in collaboration with the Scheduling Calendar.
Recital Hearing: This must take place at least two weeks prior to the Half and Full Recitals. It will be performed for a committee of three, comprised of the student’s applied teacher, another member of the woodwind faculty, and a final member from the applied woodwind or brass faculty. It is the responsibility of the student to assemble the committee, schedule the hearing date, and reserve the venue. The purpose of the hearing is to determine the readiness of the student to perform the recital repertoire. The student should be prepared to perform any selections on the recital (a portion of each piece will be heard). A typed draft of the recital program and program notes will be presented at this time for grading. As a general rule, program notes should consist of roughly two paragraphs for each piece. If information is taken from a composer’s website, it must be indicated, and quotes must be cited in text (i.e. Mozart’s biographer Donald Minx said…) The hearing must be passed by a majority of the woodwind faculty in order to present the Half or Full Recital. If the hearing is failed the recital must be rescheduled or postponed. The recital hearing rubric is the same as the jury rubric.
Literature: All recitals must include literature chosen by the teacher in consultation with the student. Varied styles should be represented for all recitals. All pieces programmed for any recital must have teacher approval. Some literature may be from previous semesters of study.
Evaluation: For Undergraduate students the recital assessment takes place at the recital hearing. Following the hearing, the faculty in attendance will determine whether the student has met the requirements for the Half or Full Recital. A majority of the committee must be in agreement in order for the student to pass. If the requirements are not met, the recital must be rescheduled or postponed. If the new recital date takes place after the last day of classes in the semester an Incomplete (I) for the course (MUSP 3130 or MUSP 4131) will be given. The applied teacher will give the final grade for the recital. If the recital is not completed in due time, the grade will be recorded as “F.” For Graduate students, the evaluation takes place during the recital. The recital is evaluated by a recital committee comprised of three faculty members including the student’s applied teacher, a member of the Graduate Committee, and one other woodwind applied faculty member. It is the student’s responsibility to form their committee. The recital program and program notes will also be evaluated. For more detailed information on the Graduate Recital, please refer to the Graduate Music Student Handbook.

* The recital requirement for BME does not apply for students who entered before Fall 2022. Students who entered before Fall 2022 may choose to perform a recital, but if not, students will be required to complete an Exit Jury. For information about the Exit Jury, read below.

Exit Jury

At the end of a BA degree the student has an option to complete an exit jury, performed during the final semester of applied study in front of a minimum of three woodwind faculty. The jury must include 25 minutes of music from at least two style periods performed with piano. The entire prepared program will be performed for the jury. A program along with program notes must be submitted to the members of the jury for evaluation. Students who perform a Half Recital in their last semester of applied instruction are exempt from an Exit Jury. The Half or Full Recital is highly encouraged, but not required for the BA degree programs. Some applied teachers require a Half Recital in place on an Exit Jury. Students should consult their applied teacher for the studio requirement. The Exit Jury rubric is the same as the jury.

COLLABORATIVE PIANIST REQUIREMENTS

All Woodwind students will need a pianist with whom to perform for lessons, studio classes, juries, recitals and other performances. Inquire with your teacher regarding available pianists and requirements for various performance venues. Please check the Music Student Handbook for guidelines.

Current Students

Information for the current students in the Department of Music at A-State.

Current Students

Collaborative Piano

Many students require the services of a collaborative pianist during their time as a student. All students working with a collaborative pianist MUST sign the Collaborative Pianist Contract below. Students need to request a pianist as soon as they know they will need one (TMR, half/full recital, jury, competition) to ensure one is assigned. The request must be made by using the Collaborative Pianist Request Form below. Vocal students will have a pianist assigned to them at the beginning of each semester.

IMPORTANT LINKS

Collaborative Pianist Contract
Collaborative Pianist Request Form

Current Students

Health & Safety

Musicians should take care in their daily activities to protect themselves and preserve their health. The A-State Department of Music advises all musicians to exercise caution, consult with your teacher if you have questions, and most certainly consult your physician for any health issues. Your career could be at stake if problems persist and are not addressed appropriately.

Please take some time to read the following draft publication from the National Association of Schools of Music regarding musician health. This is specially written to address student questions and concerns.

Musician Health from the National Association of Schools of Music.

Vocalists should understand the anatomy of the voice and avoid using the voice in ways that could endanger their health. Mr. Matthew Carey, Assistant Professor of Voice, is a Speech Pathologist and should be able to help you with any concerns. Vocalists should also consult:

Protecting Your Vocal Health

How to Prevent and Repair Vocal Damage

Faculty should be familiar with and consult the following document from NASM:

Basic Information on Neuromusculoskeletal and Vocal Health for Faculty and Staff

Slides from Mr. Carey's presentation:

Neuromusculoskeletal and Vocal Health

Information regarding Noise-Induced Hearing Loss:

Decibels & Hearing Loss

Current Students

Juries

At the end of each semester, students taking lessons will perform a jury for their area faculty. Below you will find more information about jury dates as well as important links for juries.

Fall 2025 Jury Information (tentative schedule)

Area	Date and Time	Location
Brass	Dec. 11 & 12, All Day	Recital Hall
Composition	TBA	TBA
Guitar	TBA	TBA
Keyboard	Dec. 8 & 10, 8:30-9:50am	Recital Hall
Strings	TBA	TBA
Percussion	TBA	Band Room
Voice	Dec. 9 & 10, 10:00am-5:00pm	Recital Hall
Woodwinds	Dec. 8 & 9, All Day	Recital Hall

IMPORTANT LINKS

Woodwind, Brass, & Percussion Repertory Form
Fall 2025 Final Exams Schedule

Current Students

Music Speech Proficiency

Music Education majors can elect to take the Speech Proficiency Exam in place of Oral Communication (COMS 1203). If you choose to do that, the below guidelines that will apply to pass your proficiency.

Length:

No less than 5 minutes, no more than 7 minutes. Exam will be timed, and exact speech time will be recorded on the evaluation form. Missing the time parameters will result in failure of the exam, no exceptions. Please practice the speech several times to work on timing and to sort out logistics and technological demands.

Topic:

The explanation of a musical concept, or the step-by-step demonstration of a musical process. Many possible topics exist, but some examples include:

“Proper Breathing Technique for Playing the Clarinet”
“Building Major and Minor Scales”
“Musical Characteristics of the Baroque Period”

Note: The speech topic must be approved prior to the exam date! Once a topic has been chosen, contact the exam supervisor, Dr. Stephanie Hoeckley to submit your topic and schedule the exam date.

Required Materials:

At least one self-prepared visual aid. Your instrument will not count as a visual aid. This often takes the form of, but is not limited to, PowerPoint slides.
Typed outline of speech, along with complete citations of any sources used. Two copies of the speech outline should be given to Dr. Faske and Dr. Hoeckley before an in-person speech exam begins. Alternatively, you may email copies of the outline to shoeckley@astate.edu.
A minimum of three sources used should be used in the research and preparation of the speech. No less than two of these sources should be cited during the speech itself. “According to Johnson and Johnson, page 43, skies are blue....”
No more than three 4”x6” note cards may be used, with writing on one side of each card only.

Criteria:

To be successful, students must:

Present a suitable, pre-approved topic.
Show evidence of organization (content-introduction, body of speech, and conclusion/summary) and pre-planning (visual aids and supporting materials).
Provide copies (or email attachments) of the typed speech outline to each examiner.
Deliver the speech in a conversational manner, with appropriate vocal inflections and non-verbal gestures.
Use language appropriate for a secondary school audience.
Adhere to the time limits.

Current Students

Room Reservations

Music students can reserve rooms in the Fine Arts Center for rehearsals, teaching, and organization meetings. To reserve rooms, students must use the Room Reservation Form. The availability of the rooms can be checked on the Room Availability Calendar.

A room is not reserved upon submission of the form, but must be confirmed by the Music Office. Please allow 24 hours for processing of all requests. For many of these reservations, students will need to check out a key from the Music Office. The Music Office is open Monday-Friday from 8am - 7pm. For weekend reservations students must sign out a key from the Office on Friday and return it promptly on Monday of the next week.

Current Students

Tuesday Morning Recital

The Tuesday Morning Recital is a performance opportunity for all undergraduate and graduate music majors. Recitals are held on Tuesdays at 11:00 am and some rare Fridays at 11:00 am at the end of semesters. All BA, BME, BM Performance, and MM Performance students enrolled in lessons must perform a solo on TMR once a semester. (A student can substitute with a solo performance in a Studio Recital, Half/Full/Graduate Recital, or other performances of a solo as defined above.)

Students must sign up for their preferred recital date and send their program information. Deadline to sign up for a TMR slot:

Fall: September 2
Spring: February 1

Fall 2026 TMR Dates (tentative)

Date	Category
August 25	Opening Meeting
September 8	Hong-Da Chin
September 15	Kristen Sullivan: "Practice 101"
September 22	TBA
September 29	General Recital
October 13	Brass/Percussion/Woodwinds
October 20	Composition/Piano/Strings/Voice
October 27	General Recital
November 10	General Recital
November 17	General Recital
December 1	General Recital

Current Students

Undergraduate & Graduate Recitals

Students that wish to schedule a degree recital (half/full/graduate) or a non-degree required recital (half/full/graduate) will need the below links to complete this process. Consult the Date Availability Calendar for available dates. To request dates, fill out the Recital Date Request Form with your top THREE preferred dates. The Publicity Form should be completed no later than FOUR weeks prior to your recital. This will include sending your completed recital program that should be formatted from the Recital Program Template.

Important dates for scheduling recitals:

Graduate/Senior Degree Recitals (required recitals)
- For Fall recitals: Date requests begin May 1
- For Spring recitals: Date requests begin October 1

Junior Degree Recitals (required recitals)
- For Fall recitals: Date requests begin May 15
- For Spring recitals: Date requests begin October 15

All other recitals (not required)
- For Fall recitals: Date requests begin August 15
- For Spring recitals: Date requests begin November 15

Recital scheduling deadlines (to request a date)
- Fall recital: September 5
- Spring recital: December 1

**Any recitals attempted to be scheduled after these dates cannot be guaranteed.**

IMPORTANT LINKS

Recital Date Request Form
Date Availability Calendar
Publicity Form
Recital Program Template

Current Students

Spectrum Concert

The Spectrum Concert is an annual event held in April that features performances from ensembles across the Department of Music as well as solo and chamber performances by students, selected by a juried audition.

The 2026 Spectrum Concert will be held on April 10, 2026 at 7:30pm in Riceland Hall.

Application Form

Students may audition to be included on the Spectrum Concert program. The audition consists of a submitted video performance. The deadline for submission is March 2, 2026.

Guidelines

Spectrum Concert auditions are open to all undergraduate and graduate students with the approval of their A-State applied music teacher.
Auditions will take place as an unlisted YouTube video submission link.

STUDENT PERFORMANCES (Solo or Chamber)

The length of the selection should not exceed ten minutes and the entrant will be disqualified if longer.
Ensembles of up to five members (with no conductor) will be allowed to participate. (Only one member needs to fill out the application, but must supply ALL the required information for each member.)
Faculty members may serve as collaborative pianists. An appropriate notation will be included on the program.

STUDENT PERFORMANCES (Studio Ensemble)

The length of the selection should not exceed ten minutes and the entrant will be disqualified if longer.

STUDENT COMPOSITIONS

Must conform to the time limits of the performance guidelines.
The piece can be performed by either a student or a faculty member. An appropriate notation will be included in the program for faculty members.
The auditioning panel should attempt to consider the entire range of musical expression. We are attempting to represent the finest achievements by a student in the Department of Music.
The composition faculty will screen pieces and recommend a student submit a piece for audition and will recommend only those pieces considered exceptional.

APPLICATION INFORMATION

Applicants will need to include the following:
- Title of piece
- Composer, with birth/death dates
- A link to a PDF copy of the FULL score required. (Parts will NOT be accepted.) The link can be from Google Drive, Dropbox or something similar.
- A link to an unlisted YouTube video of your performance
- Deadline: March 2, 2026, 11:59 pm

Applied faculty will receive an email from Qualtrics as soon as a student fills out the application. They will need to approve or reject the application by emailing Dr. Deborah Popham to be considered for placement on the Spectrum Concert.

Music Events Calendar

Music Student Handbooks

The Undergraduate and Graduate Student Handbooks for students in the A-State Department of Music.

Music Student Handbooks

Undergraduate Music Student Handbook

Follow this link for a PDF version of the Handbook below: 2026-27 Student Handbook

FOREWORD

The Music Student Handbook is specifically provided as a guideline to all music students currently studying in the Department of Music as part of the overall eleven departments included in the College of Liberal Arts and Communication. Policies for all students enrolled at Arkansas State University may be found in the A-State Student Handbook. The Music Student Handbook is designed specifically for undergraduate music majors, but may also apply to music minors or those taking music courses as electives or general education credit. These guidelines are in addition to the content of the A-State Student Handbook.

Expectations

Department of Music Mission Statement

We educate and elevate our students and community through music by cultivating personal connections and encouraging growth towards individual goals.

Core Values

Educate the Whole Individual, Inspire Musical and Personal Growth, Build Community Locally and Beyond

Vision Statement

The A-State Department of Music seeks to be the musical epicenter of the Mid-South, where passionate students collaborate with nationally recognized faculty and staff the uplift their greater music community and reach their personal and professional goals.

National Association of Schools of Music – Accrediting Organization

Arkansas State University is fully accredited by the National Association of Schools of Music (NASM) and therefore must abide by the policies and procedures of this organization.

Course Credit and Necessary Preparation

Levels of Study

Undergraduate Courses:

All 1000 and 2000 level courses are Lower Level (Freshman and Sophomore)
All 3000 and 4000 level courses are Upper Level (Junior and Senior)

Music Course Information

Course Prefixes

MUSC (Music)
MUAC (Applied Music)
MUED (Music Education)
MUEN (Music Ensemble)
MUIN (Music Industry)
MUST (Music Theory)

Course Numbers

All course numbers have 5 digits, which immediately follow the course prefix and precedes the course title (e.g. MUSC 11403 Music Connections)
The first number denotes the level of study as exemplified previously
The last number of the 5 digits denotes the credit hours received for the course
The section assists with multiple classes for any given course number (e.g. MUAC 11142 Section 15 or MUAC 11142-015 is specific to cello lessons, whereas MUAC 11142 Section 11 or MUS 11142-011 is tuba)
The Course Registration Number (CRN) is specific to one particular section of a course in a given semester; therefore, all CRNs are unique. They are 5-digit numbers, which begin with a 6 for fall courses, a 1 for spring courses, and a 3 for summer courses (e.g. 64810, 10436, 30144)

Determination of Course Preparation

In accordance with the NASM standard, the minimum time requirement per credit hour of study is 3 hours. For example, students taking MUSC 16003 Theory I, would be expected to spend 9 hours of preparation outside class time per week. Certain classes may have varying expectations (e.g. Performance Applied Music – see section Applied Music Guidelines).

Student Success Team

Undergraduate music students are assigned three-person team, consisting of a professional advisor, a faculty mentor, and a student success specialist. This team provides comprehensive support from a student’s arrival at A-State through graduation, helping with enrollment, financial aid, campus involvement, and career opportunities. The faculty mentor is typically the major applied teacher. In some cases, the assigned advisor may be the area coordinator (e.g. Voice, Keyboard Studies, Brass) and those seeking degrees in music education may be secondarily mentor with the appropriate supervisor (instrumental or vocal). The Fine Arts Advisor for Fine Arts is Imani Udoumana. She can be contacted in her office, Humanities 2061, via phone (870) 972-3823, or by email at iudoumana@astate.edu.

Grade Requirements

For Undergraduate Students: In accordance with Arkansas State University’s General Requirements for All Baccalaureate Degrees, students must average a C or better (2.000 GPA) in all work attempted, including courses in the major and/or minor areas, and work transferred in from another institution. Students must make a passing grade in all courses required for their degree programs. See the Undergraduate Bulletin.

Program Outcomes

The following are listings of program outcomes for all undergraduate music degree programs offered at Arkansas State University. Each list indicates what graduates will be prepared to do following the completion of the specified degree.

Bachelor of Music Education – Instrumental Music

Students will demonstrate rehearsal, conducting, and instructional skills required of elementary and secondary teachers in the area of concentration
Students will interpret and perform music from a cross section of musical styles in the area of concentration
Students will display the dispositional attributes and administrative skills of an effective educator

Bachelor of Music Education – Vocal Music

Students will demonstrate rehearsal, conducting, and instructional skills required of elementary and secondary teachers in the area of concentration
Students will interpret and perform music from a cross section of musical styles in the area of concentration
Students will display the dispositional attributes and administrative skills of an effective educator

Bachelor of Music – Performance and Composition

Work independently to prepare performances at the highest possible level as a performer or a composer
Apply aural, improvisational, and language skills, knowledge of styles and performance practices, and general historical and cultural knowledge as required by the focus of the major
Utilize basic concepts, tools, techniques, and procedures to perform and/or develop a composition

Bachelor of Music – Music Industry Performance

Read and realize musical notation
Hear, identify, and work conceptually with the elements of music such as rhythm, melody, harmony, structure, timbre, texture
Recognize a wide selection of musical literature, the principal eras, genres, and cultural sources

Bachelor of Music – Jazz Studies Performance

Work independently to prepare performances at the highest possible level as a performer or a composer
Apply aural, improvisational, and language skills, knowledge of styles and performance practices, and general historical and cultural knowledge as required by the focus of the major
Utilize basic concepts, tools, techniques, and procedures to perform and/or develop a composition

Use of Facilities and School Equipment

Food and Drink

Food and drink are note allowed in classrooms, practice rooms, or rehearsal/performance areas, nor should they be left in the hallways. Bottled water is allowed for performers only.

Smoke-Free Campus Policy

In accordance with the Arkansas State University Smoke-Free Campus Policy (14 FA01), smoking is prohibited on the campuses of state-supported institutions of higher education in accordance with A.C.A. 6-60-801, et. seq., known as the Clear Air on Campus Act.

Smoking is defined as inhaling, exhaling, burning, or carrying any of the following: (a) lighted tobacco products, including cigarettes, cigars, and pipes; and (b) other lighted combustible plant material. Arkansas State University-Jonesboro also bans smokeless tobacco and all vaping devices, including electronic cigarettes. This prohibition covers all buildings and property of Arkansas State University. This operating procedure sets out the enforcement procedures which will be followed by the University.

Fine Arts Center Hours

Monday-Friday:

Fine Arts Center: 7:00 am–11:00 pm

Percussion Annex: 7:00 am–5:30 pm

Saturday:

Fine Arts Center: 12:00 pm–11:00 pm

Percussion Annex: Locked

Sunday:

Fine Arts Center: Locked

Percussion Annex: Locked

Fowler Center Hours

Monday-Friday:

Classrooms and Offices: 8:00 am-5:00 pm

Evenings and Weekends:

As advertised by the Fowler Center and Department of Music calendar of events

Note: Hours apply to normal academic sessions. The buildings may not open during official university holidays.

Fowler Center Etiquette

Musicians must use the backstage entrance for all rehearsals and performances (located off the Theatre parking lot on the southeast corner of the building by a small loading dock with double doors into the building). DO NOT USE the main entry to the Fowler rotunda or the Bradbury Art Museum lobby. While in the hallways please be respectful of the students and faculty who may still be in the classrooms.

If performers are in need of something that is not already onstage at the appropriate time, please ask for assistance from the Fowler Center staff. Do not assume equipment from other rooms or area in Fowler Center is available for use.

After performances in Fowler Center, all performers are encouraged to clear the stage and backstage areas as quickly as possible. Meet with audience members and guests in the Grand Lobby.

Students may not reserve Fowler Center for any event. Consult with the appropriate advisor or ensemble director should reservations be necessary.

Lost and Found

The Department of Music and Fowler Center are not responsible for any lost or missing items. Personal belongings found unattended may be brought to the Fine Arts Center Music Office (203) for claiming.

Card Readers

Outside the scheduled hours of operation, students and faculty will be able to access the building 24/7 using the ID card readers with the following stipulations:

Student IDs must be activated each semester. This is accomplished through a faculty member contacting the Administrative Assistant in the Department of Music office (Fine Arts Center, Room 203)
There will be a separate list for each building. Access to the Fine Arts Center does not automatically include access to the Percussion Annes.
At the end of the semester, previous student activations will be cleared. The ID card readers keep track of who is accessing the building, and when.
Card access to the instrument storage room adjacent to the Band Room is available as needed.

Keys

Keys are issued through he Music Office, subject to approval by appropriate faculty and the Department Chair.

Practice Rooms

Practice in the Fine Arts Center is restricted to assigned practice area. Pianos and practice rooms are limited to use by music students unless authorized by the Department Chair. Students are reminded to reset all furniture back (piano, bench, chair, music stand, etc.) after each use if moved in consideration of other students.

School Equipment

Instruments are valuable pieces of equipment owned by the university, which should be treated with great respect. Instruments for individual student use must be checked out following established procedures and guidelines. Failure to do so may result in loss of equipment use privileges. Registration holds will be activated if instruments are not returned.

University-owned wind instruments are provided to students in certain courses at the discretion of the course instructor and in collaboration with our department faculty. All instruments must be checked out and checked in with oversight from a music department faculty member using the QR code found on each instrument. All accessories distributed with the instrument must also be accounted for upon check-out and check-in. Instructors may ask that students provide their own instrument accessories. Instruments must be returned at the conclusion of the course or needed use (i.e. last concert of the semester or last cycle of techniques). Failure to return an instrument and any distributed accessories at the designated time will result in a hold being placed on the student’s account for the retail replacement cost of the instrument and/or accessories, or those of equal function, until the instrument and/or accessories are returned. If a student will be extending the loan or borrowing an instrument over the summer, they must have permission from the relevant music department professor via email and be enrolled in fall semester classes before reaching out to the Director of Bands or a Band GA.

Do not put anything on top of any piano, except for placing music, pencil, and metronome on the stand.

Lockers

All lockers will be available on a first come, first serve basis. All first-floor Wenger lockers and all second-floor lockers are managed by the Music Department Administrative Assistant. Students must use the lock provided on the locker. During the academic year, see the Department of Music Administrative Assistant to claim a locker. If a student is storing a personal instrument in an A-State locker it MUST have a name tag and contact information.

String lockers are available in Room 208 for string majors or students enrolled in courses requiring the use of string instruments. Students must contact the Administrative Assistant in the Music Office and specify which class they are enrolled in to use a locker.

Instrument Storage at Fowler Center

Students are not allowed to store or leave instruments or other personal equipment in the Fowler Center. Exceptions may be made for large items such as a string bass, percussion equipment, or amplifiers.

Performing Arts Experience Class

Performing Arts Experience (MUAC 11100) class meets on Tuesdays from 11:00a-12:20p in the Fine Arts Recital Hall. Undergraduate music majors are expected to earn an assigned number of performing arts credits for this course each semester.

Any questions about MUAC 11100 should be directed to the instructor of the class, Ms. Katherine Warren: katewarren@astate.edu; 870-972-2094; Fine Arts Center, Room 248.

Grading is CR (credit/pass) or NC (no credit/fail). In addition to the first Tuesday meeting of the semester, attendance or performance at nineteen (19) recitals, concerts, or events is required for CR (credit) in MUAC 11100. Failure to attend the first Tuesday of the semester will require students to attend or perform on twenty (20) events.
Students earn credit by attending/performing recitals, concerts, masterclasses, and other approved events detailed in the Monday Morning Music Memo.
Student attendance records are maintained either by scanning QR code (sent to each student via university email) on the iPad OR by printing name on the signature page which will be available just outside the door of the venue.
Students are required to attend the entire event in order to earn credit and must scan/sign IN and OUT of every event in order to receive credit for attendance.
Students are not required to sign in/out if performing; if student name is included on the program, then credit will be granted.
As a general rule, the QR code or signature page will be available no later than 15 minutes prior to the start of each event. Additionally, students are required to scan/sign out within 15 minutes of the conclusion of each event.
A limit of four (4) off-campus, non-A-State recitals/events are allowed with prior approval of the instructor. In order to earn credit for these events students must submit a ticket and program within two weeks of the performance.
Students may earn up to two (2) credits for attending or performing on multiple performances of the same event.
Plays and musicals in the A-State Department of Theatre will be approved for credit. In order to earn credit for these events students must submit a ticket and program within two weeks of the performance.
Sports events, preview days, regularly scheduled studio classes, etc. may not be used as recital credit.
Students must earn all attendance/performance credits by the evening of the last day of class.
Any attempt to falsify attendance at events will result in automatic failure (NC) of MUAC 11100.

Recital Guidelines

Recital Etiquette and Behavior

Proper audience etiquette is important for many reasons. Not only does it reflect a positive image of the department and university to those who may be visitors in the audience, but also establishes an appropriate environment for those performing on stage. Guidelines for proper concert audience etiquette are as follows:

Be on time. If late to a program, do not enter during the performance. Wait until the conclusion of a piece and enter during applause.
Respect the performers. Unnecessary noise from whispering, talking, candy wrappers, phones, etc. during a program is not acceptable. Reading, studying, writing or texting during a program are also inappropriate. Turn off electronic devices!
Applaud performers. Laughter, cheers, or other vocal expressions directed at performers or stage set-up crew are not acceptable. Dress appropriately. Normal school clothing is appropriate for attendance at most performances, but students are encouraged to refrain from wearing caps and hats.
For all student recital performers, appropriate dress for the occasion is expected. Students should confer with their applied teacher for these expectations.

Note: Members of the music faculty are required to assess each student performance within the appropriate area of expertise. This is accomplished with an online evaluation, which may be completed during the performance. Though seemingly inappropriate, some faculty may use devices discreetly toward the back of the performance hall.

Stagehand Guidelines

Attire is concert black. No jeans. No t-shirts. Comfortable footwear is fine but please make sure shoes are all black and do not stand out. No hats. Look neat and well groomed because you will be seen on stage.

Arrive 45 minutes prior to the start of the recital. (1:15pm for 2:00pm recital; 4:15pm for 5:00pm recital; 6:45pm for 7:30pm recital) **If you are working Tuesday Morning Recital, please arrive by 10:50am.**

Recital Hall

When you arrive:

Announce your presence to the artist, and let them know that you will be stage managing their recital.
Consult with the artist to understand what stage changes will be needed. This will include asking about chairs and stand placement, if the piano should be half/full stick or closed, and asking for the programs to set outside the entrance door.
Make sure the stage and house lights are on. Some artists will want the spotlights turned on, so be sure to ask them their preference. (For a lighting guide, see below.)
Work with your other stage manager to decide who is going to be backstage with the artists and who is going to be in front of house.

Before the Concert:

Check that the left entrance door is locked to control who might enter during the performance.
The house should open no later than 15 minutes before the start time of the concert. You may need to politely remind the artist to leave the stage at that point.
Before you open the house make sure the stage is set as it needs to be for the first piece and that all necessary items are removed from the stage. Extra chairs and stands should be neatly stored upstage near the wall on stage left.

Starting the Concert:

Backstage manager: Make sure the artist is ready a couple minutes before the start time. When the artist is ready, walk to the back door of the hall to turn off the house lights and let the artist enter the stage. Gently close the door.
Front of house manager: As the backstage manager is turning off the lights close the entrance door to stop more audience members from entering.

During the Concert:

Backstage manager: Remain backstage, ready to open the door and, if necessary, to move something onstage. If it is a large set change, coordinate to have the front of house manager assist with this.
Front of house manager: Remain at the entrance door, only allowing audience members to enter between pieces or movements.

Intermission:

Backstage manager: Open the door and let the performers off-stage. Once all the applause has stopped and the performers are off-stage turn on the house lights. Set the stage for the next piece during intermission. When intermission is over repeat the same as starting the concert.
Front of house manager: Once the applause begins on the final piece before intermission open the entrance door to let audience members exit.

After the Concert:

Backstage manager: Open the door and let the performers off-stage. Once all the applause has stopped and the performers are off-stage turn on the house lights. Close the piano, replace the cover and move it back to stage right, next to the set of doors. If everyone has left the hall you can turn off all the lights
Front of house manager: Once the applause begins on the final piece before intermission open the entrance door to let audience members exit. Help the backstage manager to reset the stage.

Light Guide:

All the light switches can be found on the back wall on stage left. There are three sets you should be aware of: house lights, stage lights, and spotlights.

House Lights: The house lights are operated by the paddle switch with a slider on the right side. To turn off the house lights, slide the slider down to the bottom and then push the bottom of the paddle. To turn on push the top of the paddle and slide the slider up.
Stage Lights: The stage lights are operated by multiple switches all placed in a vertical line, which also have a dimmer on the right of the switch. For performances they should be turned up all the way.
Spotlights: The spotlights are generally used by vocalists, and they tend to use the center spotlight only. These can be found in the grey panel with the door. The stage left spotlights are 21, 22, 23. The center stage spotlights are 14, 15, 16. The stage right spotlights are 11, 12, 13. A good default setting is 13, 14, and 22, but you can confirm with the artist what they would prefer.

Riceland Hall

When you arrive:

Announce your presence to the artist, and let them know that you will be stage managing their recital or concert.
Consult with the artist to understand what stage changes will be needed. This will include asking about chairs and stand placement, if the piano should be half/full stick or closed, and asking for the programs to set outside the entrance door.
If you are managing a large ensemble concert (bands, choirs, jazz) you won’t have much to do as far as set changes, but do make yourself available if needed. See below LARGE ENSEMBLE, TICKETED for more information on this type of event.
If you are managing a smaller concert that is not ticketed you will have set changes and for more information see below SMALL CONCERT, NON-TICKETED.

Large Ensemble, Ticketed

Before the Concert:

Two managers should be outside the front entrance of the hall to keep audience members from entering before the house is opened.
The house should open 30 minutes before the start time of the concert. You may need to politely remind the artist to leave the stage at that point.
Before you open the house one manager should make sure the stage is set as it needs to be fore the first piece and that all necessary items are removed from the stage. Extra chairs and stands should be neatly stored upstage near the piano storage door on stage left.
Once the doors are opened both managers should be outside the entrance to hand out programs and take tickets. If someone does not have a ticket, direct them to the box office in the Rotunda.

Starting the Concert:

Backstage manager: Make sure the artist is ready a couple minutes before the start time. Open the door and let the artist enter the stage. Gently close the door.
Front of house manager: Close the entrance doors and monitor those coming in late.

During the Concert:

Backstage manager: Remain backstage, ready to open the door and, if necessary, to move something onstage. If it is a large set change, coordinate to have the front of house manager assist with this.
Front of house manager: Remain at the entrance door, only allowing audience members to enter between pieces or movements. (You can let them quietly congregate in the lobby of the hall.)

After the Concert:

Backstage manager: Help the artist gather their things off the stage, if they want you to help
Front of house manager: Grab the extra programs and bring them to the artist

Small Concert, Non-Ticketed

Before the Concert:

One manager should be outside the front entrance of the hall to keep audience members from entering before the house is opened.
The house should open 30 minutes before the start time of the concert. You may need to politely remind the artist to leave the stage at that point.
Before you open the house make sure the stage is set as it needs to be fore the first piece and that all necessary items are removed from the stage. Extra chairs and stands should be neatly stored upstage near the piano storage door on stage left.
Once the doors are opened one manager should be outside the entrance to hand out programs.

Starting the Concert:

Backstage manager: Make sure the artist is ready a couple minutes before the start time. Open the door and let the artist enter the stage. Gently close the door.
Front of house manager: Close the entrance doors and monitor those coming in late.

During the Concert:

Backstage manager: Remain backstage, ready to open the door and, if necessary, to move something onstage. If it is a large set change, coordinate to have the front of house manager assist with this.
Front of house manager: Remain at the entrance door, only allowing audience members to enter between pieces or movements. (You can let them quietly congregate in the lobby of the hall.)

After the Concert:

Front of house manager: Grab the extra programs and bring them to the artist
Backstage manager: Help the artist gather their things off the stage, if they want you to help

Tuesday Morning Recitals

The Tuesday Morning Recital is a performance opportunity for all undergraduate music majors. Recitals are held on Tuesdays at 11:00 am and some rare Fridays at 11:00 am at the end of semesters. Students majoring in the Master of Music - Performance, Bachelor of Music Education, or Bachelor of Music - Concentration in Music Industry, Jazz Studies, Composition, or Performance: Instrumental, Vocal, Keyboard - who are enrolled in MUAC 11142, 33102, 33103, or 66102 applied lessons must perform a solo on a Tuesday Morning Recital on their primary instrument once a semester. First-semester freshmen are exempt.

Solos are defined as works for voice and keyboard, unaccompanied instrumental solos, and works for one instrument and keyboard.

Substitution for Student Recital requirements include: Studio Recitals, Half or Full degree Recitals, and other performances of solos as defined above, in front of an audience.

Students majoring in the BM or MM Concentration in Composition are required to have original works performed at least once a school year in front of an audience on either: Tuesday Morning Recitals, Composition Recitals, Studio Recitals, Chamber Music Recitals, or other performances in front of an audience. First-semester freshmen are exempt.

Students majoring in the BM Concentration in Composition who are also enrolled in vocal or instrumental lessons (MUAC 11131, 11142, 33101, 66101, or 66102) are also encouraged to perform on a Tuesday Morning Recital or other approved performances (see above) on their major instrument/voice, but are not required to do so.

Undergraduate Recitals

Recitals may be designated as “degree” or “non-degree” recitals regardless of the course title. Degree recitals are those that are taken in fulfillment of a curricular requirement. Failure to fulfill this requirement means failure to graduate. Degree requirements for both Half and Full Recital requirements are outlined below. When students enroll in these same courses as an elective that is not explicitly required for graduation, this is defined as a non degree recital. In some cases, non-degree recitals do not require recital hearings.

MUAC 33130, Half Recital (half-length, approximately 25 minutes of music or as approved by the student’s primary applied teacher) is required of almost all Bachelor of Music (except Composition) and Bachelor of Music Education students. Recital hearing required 2-4 weeks prior, depending on area. Check area guidelines for exact requirements.

MUAC 44131, Full Recital (full-length, approximately 45 minutes of music or as approved by the student’s primary applied teacher) is also required of all Bachelor of Music Performance, Jazz Studies, and Composition students. Recital hearing required 2-4 weeks prior, depending on area. Check area guidelines for exact requirements.

Recital Hearings

A recital hearing serves as the official form of assessment for degree recitals. Specific requirements differ per area. Area Guidelines can be found on the A-State Department of Music website on the A-State Current Students (https://www.astate.edu/college/liberal-arts/departments/music/Current-Students/) page. Typically, recital hearings are carried out by a committee of A-State Music Faculty that is formed in consultation with the student giving the recital and the professor overseeing the course. Areas will determine the number of faculty members needed and this committee of faculty will assess the performance using the rubric for their Area. If all pertinent faculty cannot be present, recital hearings may be recorded and shared with these faculty. It is highly recommended, and in many cases required, that the recital hearing occur 2 to 4 weeks before the scheduled recital, depending on Area preference. Failure to pass a recital hearing may result in postponement or cancellation of the recital itself.

Guidelines for Scheduling a Recital

Students that wish to schedule a recital will need to complete the process outlined on the Current Students Knowledge Base page. Students should consult closely with their major applied professor throughout this process.

Consult the Availability Calendar for available dates.

Important Dates for scheduling recitals:

Senior Degree Recitals

For Fall Recitals: Date request begin May 1
For Spring Recitals: Date requests begin October 1

Junior Degree Recitals

For Fall Recitals: Date requests begin May 15
For Spring recitals: Date requests begin October 15

All other recitals (non-degree)

For Fall recitals: Date requests begin August 15
For Spring recitals: Date requests begin November 1

Recital scheduling deadlines (to request a date):

Fall recital: September 5
Spring recital: December 1

Note: Any recitals attempted to be scheduled after these dates cannot be guaranteed

To request dates, fill out the Recital Date Request Form with your top THREE preferred dates.

The Publicity Form should be completed no later than FOUR weeks prior to your recital. This will include sending your completed recital program that should be formatted from the Recital Program Template. Copies of the recital program may be requested by the Department of Music for licensing and archival purposes.

Standardized Concert Times

2:00p - Saturday + Sunday
5:00p - Monday + Tuesday + Thursday + Friday + Saturday + Sunday
7:30p - Monday + Tuesday + Thursday + Friday + Saturday

Applied Music Guidelines

Students enrolled in Performance Applied Music (private studio lessons) are subject to the following policies:

Lesson times are determined by the applied professor. The student is expected to present a class schedule to the professor during the first week of each semester for the purpose of arranging lesson times.

Lesson attendance is expected every week. Advance notice should be made to the teacher for any missed lessons.
Rescheduling missed lessons is at the discretion of the professor. If a professor cancels a lesson, it will be rescheduled.
All applied teachers will provide a syllabus each semester including grading policies, practice requirements, required materials, learning outcomes, etc. After careful study of the syllabus, students should direct questions to the applied teacher.
Juries are required for final examinations in applied music for all music majors on primary instruments. Music majors will perform required material before faculty members in the performance area. Check specific area guidelines, in some areas if a student passes a recital hearing and performance a recital, they are not required to perform a jury in that same semester. Music majors on secondary instruments may be asked to complete a jury but are generally not required. This is determined by the applied music teacher.

Offerings of Performance Applied Music and the expectations for practice are documented in the A-State Undergraduate Bulletin as follows.

MUAC 11131 or 33101 - One hour credit. One half hour lesson per week. Fall, Spring. May be repeated for credit. Special course fees may apply. Five hours practice required.
MUSP 11142 or 33102 - Two hours of credit. Two half hour lessons, or one 1 hour lesson per week. Fall, Spring. May be repeated for credit. Special course fees may apply. Ten hours practice required.
MUSP 33103 - Three hours of credit. Two half hour lessons, or one 1 hour lesson per week. Fall, Spring. May be repeated for credit. Special course fees may apply. Available only to Bachelor of Music degree candidates. Fifteen hours practice required.

Jury Policies

Juries are scheduled during Final Exam Week.
Jury scheduling is typically organized by each Area Coordinator (Brass, Woodwind, Percussion, Voice, Strings/Keyboard, Composition). Students will be notified of the proper procedure for sign up or scheduling during the semester, which will also be added to the A-State Department of Music Knowledge Base under Current Students.
Students may be excused from a jury if a degree recital has been performed and passed during the same semester (enrollment required). Check area guidelines for more information.
Students should be prepared and on time for jury performances. Dress appropriately; consult with your applied teacher.
Jury panel members may require legal copies of repertoire. Performance area coordinators will provide guidelines.
A Repertory Form, which is a record of student work for the semester, will be completed each semester and presented at the jury. Sheet music for the jury may also be uploaded to this form.
The jury panel will grade each performance exam, as well as complete a performance evaluation online, which students may view by request of the applied teacher. The effect of the jury panel grade on the final course grade for the semester is determined by the applied teacher.
Applied composition students are expected to have a jury each semester, unless the requirement is waived by the primary applied teacher. The exact format and schedule for these juries will be determined by the composition faculty and addressed in the syllabus.
Collaborative pianists may be assigned to students for their jury performances every semester or on alternating semesters (based on availability). See the section below for more information on Collaborative Pianist Guidelines.

Proficiencies

All candidates for BM and BME must past proficiency exams in their major instrument/voice and an secondary instruments.

BM – Instrumental and Voice Proficiencies

All BM candidates must pass a proficiency jury to be admitted into upper level study in their major applied section of lessons. Refer to specific Area Guidelines for eligibility and requirements. Specific requirements for each applied major studio may be obtained from the applied teacher.

BM – Composition

At the end of the eighth credit hour of applied study in composition, all BM-Composition candidates must pass a proficiency exam to be admitted into upper-level study in composition. Specific requirements may be obtained from the composition teacher.

BME – Instrumental Proficiency

At the end of the sixth credit hour of applied study on the major instrument, all BME –Instrumental candidates must pass a proficiency exam to be admitted into upper level study on the major applied instrument. Specific requirements for each instrument may be obtained from the applied teacher. Before receiving departmental approval for student internships, BME – Instrumental majors must complete the five required techniques as outlined in the A-State Undergraduate Bulletin. String players take Percussion, Guitar, Upper String, Lower String, and one additional techniques course. Wind and percussion students have six techniques classes to choose from. They can either take all six or take the five that do not include their primary instrument. If the technique course that corresponds with their primary instrument also contains an additional instrument and they elect not to take the course, they need to sign up for a pedagogy lesson on the instrument of the pair that is not their primary. For example, if a student is a clarinet player they will take the Percussion, High Brass, Low Brass, Flute, and Double Reed Techniques. To satisfy their instrumental proficiency they will either take Single Reed techniques or sign up for a saxophone pedagogy lesson, prior to internship.

BME – Vocal Proficiency

At the end of the sixth credit hour of applied vocal study, all BME - Vocal candidates must pass a proficiency exam to be admitted into upper level study in voice. Specific requirements may be obtained from the applied teacher. BME - Vocal majors must also pass an exit proficiency during the final semester of applied study by demonstrating adequate performance skills in a jury. The proficiency may be waived with the completion of a full or half-recital given during the last semester of applied study.

Piano Proficiency Exam/Keyboard Skills Course Requirements

All Music Majors who are not majoring in Piano or Organ will take Keyboard Skills classes that correspond with the appropriate level of Theory and Aural Theory (e.g. a student enrolled in Theory 1 and Aural Theory 1 will also enroll in Keyboard Skills 1). Since Keyboard Skills courses are designed to complement the Theory and Aural Theory courses, even students with some piano skills are strongly encouraged to take them.
In very rare cases, freshman and transfer students with superior keyboard technique, reading, and theory skills will be allowed to enter private Applied Piano lessons. In such cases, the student will work with their advisor to fill out a Course Substitution Form to get proper credit. For the advanced Non-Piano Music Major enrolled in Applied Piano (who has never taken Keyboard Skills Classes) to complete his or her Piano Proficiency requirement, the student must complete all portions of the Keyboard Skills 4 Piano Proficiency Exam.
All Music Majors are strongly encouraged to take all four semesters of Keyboard Skills, even if it is not required for their major. Music Education majors must pass required Keyboard Skills classes prior to doing their Teaching Internship.
Students will take a Proficiency Exam for each level of Keyboard Skills classes (levels 1 – 4). Failure to pass the entire Proficiency Exam for any level by the end of the semester in which the course is taken will cause the student to have to retake the course.
The various portions of the Proficiency Exams for each level of Keyboard Skills will be taken throughout the duration of the courses. All grading will be done by the classroom teacher, through listening to individuals on headset and monitoring of Piano Marvel scores and completions. Some portions will be performed for the entire class, especially as part of the Midterm and Final Exams.
Students who have completed the Piano Proficiency Exam for Keyboard Skills 4 may take private Applied Piano lessons if desired, depending upon faculty schedules and loads.
Room 209, the Piano Lab, will be open during designated times throughout the week, for individual practice and use of Piano Marvel. See schedule posted on the door.
All rulings about grading and other matters are at the discretion of the faculty.

Screening for Admission into the Teacher Education Program

This requirement is for BME students only. This typically happens at the discretion of the MUED advisor as the student completes the requirements (below). It is the candidate’s responsibility, with the assistance of their MUED advisor, to initiate the online application for admission into the teacher education program in accordance with the procedures established by the department screening committee. This committee will evaluate the applicant’s records and determine eligibility for admission into the teacher education program.

To be considered for Admission into the Teacher Education Program, teacher candidates must meet/complete the Checkpoint 1 criteria.

Speech Proficiency Exam

Bachelor of Music Education students may elect to attempt a Speech Proficiency Exam to fulfill the Oral Communication (COMS 1203) degree requirement. Information regarding the Speech Proficiency Exam may be found on the Current Students book of the Department of Music Knowledge Base. Please note the paperwork to be submitted following the successful examination process. For more information, please contact Speech Proficiency Exam Coordinator, Dr. Stephanie Hoeckley, mailto:shoeckley@astate.edu.

Collaborative Pianist Guidelines

The Department of Music provides collaborative pianists for students for required lessons, studio classes, and performances. There are however, some cases where recorded tracks may be provided or in which a pianist cannot be guaranteed. Every student using a pianist, all collaborative pianists, and all applied faculty members must agree to these terms and must fill out the Collaborative Pianist Contract each semester. By acknowledging each point and signing your name, you agree to the collaborative pianist guidelines for that semester.

Questions regarding these policies may be directed to Keyboard Area Coordinator, Dr. Lauren Schack Clark (lsclark@astate.edu).

Requesting a Collaborative Pianist

Many students require the services of a collaborative pianist during their time as a student. Instrumental students need to request a pianist as soon as they know they will need one (TMR, half/full recital, jury, competition) to ensure one is assigned. The request must be made by using the Collaborative Pianist Request Form. Vocal students will have a pianist assigned to them at the beginning of each semester.

Once a pianist has been assigned the assigned pianist will get in touch with the student to set up the first rehearsal.

Applied teachers should rehearse with each student and the assigned pianist at least once before every performance.
Students and applied teachers should strive to set an exact date for Tuesday Morning Recital performances before giving music to the pianist.

Disclaimer of Availability of Collaborative Pianists

Teachers and students should carefully consider extra lessons, make-up lessons, request to play in lessons on “off weeks,” or performances (such as non-degree recitals) requiring added expense to the university or student. Pianists cannot be guaranteed in these instances and will not be paid extra by the university, so payment will be expected directly from the student at the time of service. Should additional meeting times with a pianist be required they must be notified by the faculty or students at last 3 days in advance. Pianists have the right to refuse attendance at such extra meetings.

Guidelines for Instrumental Students

Pianists and applied teachers will keep records of lessons and performances.
To request a collaborative pianist (instrumentalists only), students must fill out the Collaborative Pianist Request Form. Once a pianist has been assigned the assigned pianist will get in touch with the student to set up the first rehearsal.
The amounts of rehearsal time to be granted for each type of performance are given below. The times can be broken up as needed. For example, for Tuesday Morning Recitals, students can have 2 thirty-minute rehearsals or 3 twenty-minute rehearsals, etc.

Tuesday Morning Recitals/Juries (one piece): One hour rehearsal
Exit Juries: 2 pieces, 2 hour rehearsal; 3+ pieces, 3 hours rehearsal
Half Recital: 3 hours rehearsal in addition to recital hearing, dress rehearsal, and recital
Full Recital: 5 hours rehearsal in addition to recital hearing, dress rehearsal, and recital

The students must give all music to the pianist at least 4 weeks before the first performance. Digital PDFs are preferred. Please do not send photos of pages. Many free scanning apps are available, and there is also a scanner in the Computer Lab on the first floor of the FAC.
The student must tell the pianist at least 4 weeks in advance about any upcoming classes or recitals on which they plan to perform.
If the previous two guidelines are not met, the pianist has the right to refuse to play the performance.
The student and the pianist will both come to all rehearsals with notes (and words) learned accurately. The student will not rely on the pianist to teach the basics of the repertoire.
Prior to giving music to the pianist, students should write all measure numbers, metronome markings, cuts, ritards, etc., in the pianist's score.
The student should retain a copy of the piano score for study, and to view while listening to recordings.
Applied teachers should rehearse each student with the assigned pianist at least once before every performance.
Applied teachers should strive to set an exact date for Tuesday Morning Recital performances before giving music to the pianist.

Guidelines for Voice Students

Pianists and applied teachers will keep records of lessons and performances.
Dr. Lauren Schack Clark will schedule lessons for all collaborative pianists working with singers. The voice faculty should not schedule lessons without consulting Dr. Clark. Tentative degree recital dates and student class/work schedules should be provided as early in the semester as possible.
Lessons and performances will be either with a live pianist, or a recording will be provided, depending on availability of pianists. For live performances, students will have at least 1 rehearsal with the pianist, and at least 2 other meetings, which can be an additional rehearsal and 1 additional lesson with the applied teacher and the pianist, or 2 lessons with the applied teacher. For any additional services, the student should check with their pianist and/or Dr. Clark to see whether extra compensation is required.
Voice teachers should carefully consider extra lessons, make-up lessons, requests to play in lessons on "off weeks," or performances requiring added expense to the university or student. Pianists cannot be paid extra by the university, so payment will be expected directly from the student at the time of service. Should additional meeting times with a pianist be required, voice teachers must notify pianists at least 3 days in advance. Pianists have the right to refuse attendance at such extra meetings.
If vocalists or voice faculty cancel a lesson and want to meet on an off-week, it is up to the pianist’s discretion whether they will attend.
The student must give all music to the pianist at least 4 weeks before the first performance. Digital PDFs are preferred. Please do not send photos of pages. Many free scanning apps are available, and there is also a scanner in the Computer Lab on the first floor of FAC.
The student must tell the pianist at least 4 weeks in advance about any upcoming classes or recitals on which they plan to perform.
If the previous two guidelines are not met, the pianist has the right to refuse to play the performance.
The student and the pianist will both come to all rehearsals with notes, rhythms (and words) learned accurately. The student will not rely on the pianist to teach the basics of the repertoire.
Prior to giving music to the pianist, students should write all measure numbers, metronome markings, cuts, ritards, etc., in the pianist's score.
Pianists playing in person for degree recitals will not provide recording tracks for singers unless recordings are made during lesson times
Absence Policy for Voice Students: Excused absences when the pianists is normally present, MAY be made up only ONCE per semester during an agreed time between the teacher, student, and pianist (preferably during the "off-week" lesson time, but must be BEFORE the next lesson).
Singers must provide pianists with a translation of each song/aria, at least 2 weeks prior to the first performance. The translation will be marked neatly or typed in the copy of the score, next to each corresponding word.
Students and applied teachers should strive to set an exact date for Tuesday Morning Recital performances before giving music to the pianist.

Area Guidelines

Every music student is responsible for reading and being familiar with their degree program, found in the bulletin that corresponds with their first year of graduate study. Bulletins may be found online. All music students are also responsible for reading and being familiar with their respective area guidelines. These guidelines contain procedures, expectations, and requirements for all areas within the Department of Music: Brass, Industry, Jazz, Keyboard, Percussion, String, Composition, Vocal, and Woodwind.

Links to all area guidelines can be found in the Knowledge Base under Current Students.

Music Scholarships and Honors

In addition to the academic scholarships available at A-State, the Department of Music also offers scholarships for interested students of all types and majors. To be considered for music scholarships, students must first apply and audition for the appropriate area of study (Band, Choral, Strings, etc.) and then participate in the required ensembles. Privately funded music scholarships may also be awarded to eligible students but must be applied for separately. Regardless of major, all students MUST audition to be considered for music scholarships.

Privately Funded Scholarships

The A-State Department of Music has a number of Privately-Funded Scholarships available to incoming and current students regardless of major. A full listing detailing the eligibility requirements for each scholarship can be found on the Privately Funded Scholarships page of the music website. The amounts vary as well as if the award is one-time or renewable. The application portal typically opens on October 1 of each calendar year and the closing deadline for these scholarships is February 1. Only one application is needed to be considered for all privately funded scholarships administered through Arkansas State University and the ASU Foundation Inc. The winners of these music-specific scholarships are announced at the annual A-State Music Honors recital in early April.

Spectrum Concert

The Spectrum Concert occurs during the A-State Convocation of Scholars. Convocation of Scholars is a month-long campus celebration of the achievements by outstanding students and faculty members at A-State. The Spectrum Concert features students across all areas of the Department of Music. It is an expectation for all students to either perform or attend this concert.

Student Organizations

Sigma Alpha Iota (SAI): Sigma Alpha Iota is a Greek organization for women with a sincere interest and love for music and believes in its ability to bring good to our daily lives and to the world. SAI strives to serve their university and community, advocate for music education, and promote American composers.

Tau Beta Sigma (TBS): Tau Beta Sigma is a Greek organization for both men and women that strives to provide exceptional service to collegiate bands and promote equality and diversity, including empowering women in the band profession. TBS cultivates leadership, educational achievement, music appreciation, and community development.

Phi Mu Alpha (PMA): Phi Mu Alpha Sinfonia is a Greek organization for men that is devoted to advancing music in America through brotherhood development. PMA performs various social and musical events including American Music Recitals featuring American composers and compositions.

National Association for Music Education (NAfME): The Arkansas State University chapter of NAfME focuses on the improvement of future music educators, involves collegiate members with the importance of music advocacy, and educates students on the benefits of music education. A-state NAfME hosts a wide array of events for students to enjoy such as student workshops, guest speakers, as well as possible trips to conferences. Students interested in joining NAfME can get involved with the annual membership drive held in the Fine Arts building or can join directly through the NAfME Website.

Arkansas Choral Directors Association (ACDA): The American Choral Directors Association Alfred R. Skoog Chapter of Arkansas State University is a group focused on furthering choral music. ACDA consists of future choir directors and choral music lovers who wish to advance the experience and level of choral music in America.

Composers Guild: The A-State Student Composers Inc. (SCI) is the student chapter of the Composers Guild, which is a formal union of composers who help to promote the creation, performance, understanding and dissemination of original music composition. The Chapter welcomes all A-State students who either have an interest in composing music, or a desire to gain a deeper understanding of music and its architecture. The Composers Guild will meet each semester and hold music composition workshops, presentations, and lectures. They also hold a summer camp for young composers, as well as bring a notable composer to the A-State campus annually for a masterclass and a performance of original works. Each year concludes with an organized concert of works by SCI members.

Music Teachers National Association (MTNA): The preeminent source for music teacher support, where members embody like-minded values and commitment to their students, colleagues and society as a whole, while reaping the rewards of collaboration, continuity and connection throughout the lifetime of their careers. The mission of MTNA is to advance the value of music study and music making to society and to support the professionalism of music teachers. The State Affiliate is Arkansas State Music Teachers Association (ASMTA) and the local affiliate is Music Teachers Association of the Delta (MTAD).

Health and Safety

Safety is a shared responsibility across campus and the A-State Department of Music is dedicated to creating a healthy and safe environment. Health and Safety guidelines for musicians are available on the Department of Music Knowledge Base. Many campus resources, such as university police and student counseling services, are also available at Safety at A-State.

Title IX Non-Discrimination and Reporting Statement

Arkansas State University does not discriminate on the basis of sex in any education program or activity that it operates. Further, A-State is subject to Title IX of the Education Amendments of 1972 and is therefore required by Title IX and 34 C.F.R. Part 106 not to discriminate in such a manner. This requirement extends to admissions and employment with the university.

Inquiries about the application of Title IX or 34 C.F.R. Part 106 to A-State may be referred to A-State’s Title IX Coordinator, to the Assistant Secretary for Civil Rights for the U.S. Department of Education, or both. A-State’s Title IX Coordinator holds the title Director of Institutional Integrity and Title IX and may be contacted as follows:

Email: title9@astate.edu

Phone: 870-972-2015

In Person: Administration Building, Suite 104

Mail: Office of Institutional Integrity and Title IX, P.O. Box 1500, State University, AR 72467

Any person may report sex discrimination, including sexual harassment (whether or not the person reporting is the person alleged to be the victim of conduct that could constitute sex discrimination or sexual harassment), in person, by phone, or by email using the contact information provided above or by any other means that results in the Title IX Coordinator receiving the person’s verbal or written report. Such a report may be made at any time (including during non-business hours) by using the telephone number or email address, or by mail to the office address, provided above. More information: A-State Title IX.

Grievances

Every student on campus has responsibilities and rights. For any reporting of misconduct or filing of academic grievances please refer to Reporting on Campus.

Music Living Learning Community (LLC)

The fifth floor of Arkansas Hall is designated as the Living Learning Community. It is in close proximity to Fine Arts Center, Fowler Center, and Marching Band Outdoor Classroom. It features large single rooms with baths shared with one other person. Residents can practice in their rooms as long as quiet hours are not in effect. Lounge spaces for group study and chamber rehearsals are available.

Music Student Handbooks

Graduate Music Student Handbook

Follow this link for a PDF version of the Handbook below: 2026-2027 Graduate Student Handbook

Graduate Music Student Handbook

Expectations

Department of Music Mission Statement

We educate and elevate our students and community through music by cultivating personal connections and encouraging growth towards individual goals.

Core Values

Educate the Whole Individual, Inspire Musical and Personal Growth, Build Community Locally and Beyond

Vision Statement

National Association of Schools of Music – Accrediting Organization

Arkansas State University is fully accredited by the National Association of Schools of Music (NASM) and therefore must abide by the policies and procedures of this organization.

Advising

Graduate music students advise with the Graduate Music Program Director, Dr. Kristin Leitterman (kleitterman@astate.edu) along with their major applied teacher.

Graduate School Administration

Dean: Dr. Steven Beaupre (sbeaupre@astate.edu)
Assistant Dean: Dr. Brad Rawlins (brawlins@astate.edu)
Music Graduate Program Director: Dr. Kristin Leitterman (kleitterman@astate.edu

Program Outcomes

The following are listings of program outcomes for all graduate music degree programs offered at Arkansas State University. Each list indicates what graduates will be prepared to do following the completion of the specified degree.

Master of Music

Develop advanced capacities to work independently and make effective artistic and intellectual judgements and professional decisions in the area of specialization
Demonstrate professional capability in the area of specialization
Write effectively and professionally on a subject that is relevant to one’s specialization
Demonstrate competency in repertory and historical performance practices
Demonstrate proficiency in one or more fields of music outside the major area

Master of Music Education

Create a performance assessment to be used in the music classroom
Demonstrate professional competence before peers and faculty with a high level of academic rigor and scholarly contribution to the field of music education
Write effectively and professionally on a subject that is relevant to one’s specialization

Graduate Classes and Load

Graduate Credit

Graduate credit will be given only for courses described in the Graduate Bulletin under the heading Course Descriptions. A master’s degree program traditionally consists of courses numbered 5000 and 6000. Courses numbered 7000 and above are normally reserved for specialist and doctoral programs. Check the particular degree program section for program specific restrictions or deviations.

Master’s degree candidates must complete a minimum of 18 semester hours in courses numbered at the 6000 level. For master’s degrees requiring more than 30 hours, at least 50 percent of the credit hours must be completed at the 6000 level. No more than six semester hours of credit earned through independent study may be applied toward a graduate degree.

Graduate students enrolled in courses numbered 5000 through 5999 must do special work in addition to that required of undergraduates in the courses numbered 4000 through 4999.

No grade below “C” will be accepted for graduate credit. Should a student receive a grade of an “F” in any graduate-level course they will automatically be put on academic suspension from the university and their program and academically withdrawn from current and future courses. They will be ineligible to register for further graduate work. Suspended traditional students may apply for readmission after one full semester of suspension or a full summer session. Students may be readmitted on probation, but only upon approval of the department chair and the Graduate Dean. To reapply students must have a recommendation of their advisor and department chair with the approval of the Office of the Provost. A student suspended a second time is ineligible for readmission to the same program.

Graduate Student Academic Load

The load of full-time graduate students may not exceed 15 semester hours, including any undergraduate courses, per regular semester or the full summer term (which includes May and August interim) without special overload permission. The total academic load resulting from concurrent enrollments at A-State and other institutions shall not exceed the maximum loads stated above. Nine graduate hours or more for Fall and Spring terms are considered full-time; six hours or more cumulative over all summer terms are considered full-time. Graduate students enrolled in an accelerated part-of-term on-line degree program are considered full time when enrolled in six graduate hours and half-time when enrolled in at least three graduate hours. Should a student receive an incomplete (I) and need an extra semester to complete their coursework, students must be enrolled in at least 1 credit while completing the work for the class with the incomplete. Graduate student academic load may vary by program. Please consult official program handbooks or guidelines to determine approved course loads per semester or part of term.

Use of Facilities and School Equipment

Food and Drink

Food and drink are note allowed in classrooms, practice rooms, or rehearsal/performance areas, nor should they be left in the hallways. Bottled water is allowed for performers only.

Smoke-Free Campus Policy

Fine Arts Center Hours

Monday-Friday:

Fine Arts Center: 7:00 am–11:00 pm

Percussion Annex: 7:00 am–5:30 pm

Saturday:

Fine Arts Center: 12:00 pm–11:00 pm

Percussion Annex: Locked

Sunday:

Fine Arts Center: Locked

Percussion Annex: Locked

Fowler Center Hours

Monday-Friday:

Classrooms and Offices: 8:00 am-5:00 pm

Evenings and Weekends:

As advertised by the Fowler Center and Department of Music calendar of events

Note: Hours apply to normal academic sessions. The buildings may not open during official university holidays.

Fowler Center Etiquette

After performances in Fowler Center, all performers are encouraged to clear the stage and backstage areas as quickly as possible. Meet with audience members and guests in the Grand Lobby.

Students may not reserve Fowler Center for any event. Consult with the appropriate advisor or ensemble director should reservations be necessary.

Lost and Found

Card Readers

Outside the scheduled hours of operation, students and faculty will be able to access the building 24/7 using the ID card readers with the following stipulations:

Student IDs must be activated each semester. This is accomplished through a faculty member contacting the Administrative Assistant in the Department of Music office (Fine Arts Center, Room 203)
There will be a separate list for each building. Access to the Fine Arts Center does not automatically include access to the Percussion Annes.
At the end of the semester, previous student activations will be cleared. The ID card readers keep track of who is accessing the building, and when.
Card access to the instrument storage room adjacent to the Band Room is available as needed.

Keys

Keys are issued through he Music Office, subject to approval by appropriate faculty and the Department Chair.

Practice Rooms

School Equipment

Do not put anything on top of any piano, except for placing music, pencil, and metronome on the stand.

Lockers

Instrument Storage at Fowler Center

Recital & Scholarly Document Requirements

Recital Etiquette and Behavior

Be on time. If late to a program, do not enter during the performance. Wait until the conclusion of a piece and enter during applause.
Respect the performers. Unnecessary noise from whispering, talking, candy wrappers, phones, etc. during a program is not acceptable. Reading, studying, writing or texting during a program are also inappropriate. Turn off electronic devices!
Applaud performers. Laughter, cheers, or other vocal expressions directed at performers or stage set-up crew are not acceptable. Dress appropriately. Normal school clothing is appropriate for attendance at most performances, but students are encouraged to refrain from wearing caps and hats.
For all student recital performers, appropriate dress for the occasion is expected. Students should confer with their applied teacher for these expectations.

MM Graduate Recital

MUAC 66301, Graduate Recital (full-length, approximately 50 minutes of music, required of all Master of Music students.)

I. Outcomes

Develop advanced capacities to work independently and make effective artistic and intellectual judgments and professional decisions in the area of specialization
Demonstrate professional capability in the area of specialization

II. Scheduling

Degree Recital: The student is responsible for establishing the date and time of the degree recital in consultation with the major applied teacher and the Music Graduate Program Director.
Evaluation Meeting: The student is responsible for establishing the date and time of the evaluation meeting in consultation with the major applied teacher and the Music Graduate Program Director. The recital evaluation meeting must take place within 5 business days of the recital date; not to exceed 10 business days of the recital date in extenuating circumstances.
Notification of the date and time of the recital and the recital evaluation meeting must be given in writing to the Music Graduate Program Director no later than four weeks prior to the performance.

III. Graduate Recital Committee

The graduate recital committee will consist of three music faculty including: 1) the major applied teacher, 2) Department of Music Graduate Curriculum committee member and 3) one additional music faculty member, dependent on the area:

Brass: one other from the brass area faculty
Composition: one other from music faculty
Conducting: one other ensemble director
Percussion: one other from music faculty
Piano: one other keyboard area faculty or other applied faculty
Voice: one from the voice area faculty
Woodwinds: one from the woodwind area faculty

All members of the committee must have Graduate Faculty Status.
A member of the committee cannot perform in the recital.
The Music Graduate Program Director is responsible for approving the graduate recital committee.
The graduate recital committee must be established by the final day of the semester prior to the performance semester. Adjustments to the graduate recital committee can be made during the performance semester due to extenuating circumstances.

IV. Recital Requirements

The recital must include approximately 50 minutes of music.
The recital repertoire will include literature from a minimum of three contrasting stylistic periods, genres, or repertoire categories appropriate to the instrument or area.
The major applied teacher will approve the content of the recital program.
Program Area Specifics
1. Organizing and conducting a performance with ad hoc ensembles
2. Collating various performances with Department of Music Large Ensembles

Students pursuing the Master of Music in Vocal Performance must include the following languages: English, French, German, and Italian.
Students pursuing the Master of Music in Conducting will work with their major applied teacher to determine the format of their recital which can include, but is not limited to:
Students pursuing the Master of Music in Piano Performance or Piano Performance and Pedagogy may include collaborative works or chamber music, but at least 50% of the program should be solo works.
Students pursuing the Master of Music in Collaborative Piano Performance may include a major solo work on their program, but at least 75% of the music must be collaborative, and both vocal and instrumental pieces should be represented.
Students pursuing the Master of Music in Composition should program representative repertoire in different mediums and instrumentations.

V. Evaluation

After discussion, each graduate recital committee member will vote “low pass,” “pass,” “high pass,” or “fail” and make comments on the recital performance and recital document separately.
Both components (recital performance and recital document) must be approved on a vote of two to one (i.e., four “pass,” one “fail” = pass; four “fail,” one “pass” = fail).
If the result is “fail” on either component, the committee may ask the student to perform the recital during the next semester with possible changes in repertoire and/or revise and resubmit the recital document. In such a case, a grade of “I” (“incomplete”) will be assigned. According to the Graduate Bulletin, an incomplete grade not removed before the last day to withdraw during the next semester in which the student is enrolled at the university or within one calendar year if the student does not enroll, unless extenuating circumstances are provided in writing to the Graduate School, will be recorded as “F.”
A copy of the Master of Music Degree Recital Form along with the recital program and program notes (if applicable) will be placed in the student’s file. The major applied professor will give the final grade for the recital.

Scholarly Document

I. Purpose

The document must demonstrate independent thinking and responsibility on the

part of the student, manifested in the selection of the topic, the research procedure, and

the establishment of appointment times with the major professor and graduate recital committee

members who are supervising the writing of the document during that process.

II. Students will select one of the following three options:

Performance Study/Parametric Analysis of Recital Repertoire
1. Biographical Background
2. Cultural Context
3. Pedagogical Parameters

Well researched and analyzed investigation of works performed on the graduate recital. Elements can include, but are not limited to:
3750 word minimum before citations (ca. 15 pages)
Chicago or Chicago-Turabian style

Scholarly Program Notes

Well researched and analyzed investigation of works performed on the graduate recital. Elements can include, but are not limited to:

Biographical Background
Cultural Context
Theoretical Analysis

3750 word minimum before citations (ca. 15 pages)
Chicago or Chicago-Turabian style

Students who wish to pursue original research should seek approval from the major studio professor AND Music Graduate Program Director. Approval must be obtained the semester prior to the graduate degree recital.

3750 word minimum before citations (ca. 15 pages)
Chicago or Chicago-Turabian style

III. Supervision

The major professor is to be the advisor for the document.
In addition, members of the graduate recital committee may be approached to provide supplemental guidance during the writing of the document.

IV. Evaluation

The document must be delivered to the graduate recital committee no less than 15 business days before the recital performance.
The graduate recital committee must provide feedback on the document no later than 5 business days before the date of the recital.
Edits to the document must be made and shared with the graduate recital committee by the time of the recital evaluation meeting.

Timeline

Semester prior to recital:

Confirm Recital Committee Membership
Schedule Recital Date (See Music Student Handbook for scheduling procedures)

Semester of the recital:

Notify Graduate Program Coordinator of Recital & Evaluation Dates (At least four weeks prior to recital)
Share completed Scholarly Recital Document with graduate recital committee members (At least 15 Business days before recital)
Graduate recital committee returns document edits to the student (5 business days prior to recital)

Recital Date

Final Draft of Scholarly Document is due to recital committee the day of the recital

Recital Evaluation Meeting – Within 5-10 business days of recital date

This meeting will be a discussion of the recital and the scholarly document with the student and committee
Graduate Recital Committee Chair will provide the below forms at the meeting for committee signatures.
Once signed, the forms should be submitted to the Graduate Program Director electronically along with the final draft of the scholarly document, recital program, and program notes (if applicable). Copies of the forms can be made to give to the student, should they like to retain them for their records.

Guidelines for Scheduling a Recital

Consult the Availability Calendar for available dates.

Important Dates for scheduling recitals:

Graduate Degree Recitals

For Fall Recitals: Date request begin May 1
For Spring Recitals: Date requests begin October 1

All other recitals (non-degree)

For Fall recitals: Date requests begin August 15
For Spring recitals: Date requests begin November 1

Recital scheduling deadlines (to request a date):

Fall recital: September 5
Spring recital: December 1

Note: Any recitals attempted to be scheduled after these dates cannot be guaranteed

To request dates, fill out the Recital Date Request Form with your top THREE preferred dates.

Standardized Concert Times

2:00p - Saturday + Sunday
5:00p - Monday + Tuesday + Thursday + Friday + Saturday + Sunday
7:30p - Monday + Tuesday + Thursday + Friday + Saturday

Thesis or Research Project Option

Students in the Master of Music Education (Choral and Instrumental Emphasis) are required to complete either a Research Project or a Thesis as their final commutative project at the end of their degree program. The choice of the final project will be chosen in consultation with the Graduate advisor and their faculty mentor.

Research Project Option

The Research Project Option (MUED 66662) is a culmination of the MME body of work. A research topic is chosen that is meaningful to the music education profession. This capstone project should be of the highest professional quality, demonstrate breadth of competence and the growth achieved through MME degree coursework, and meet the rigorous scholarship demands of academia. Students who choose this option must take 4 credits of electives approved by their advisor.

Thesis

The thesis (MUED 6664V) will carry a minimum of six hours of credit. Students may not register for thesis credit until they have submitted a Request to Form a Thesis or Dissertation Committee form and the committee has approved the proposed topic. Credit is awarded only upon completion and approval of the thesis. The student must be enrolled for thesis credit the semester it is completed and approved by committee, even if all required thesis-credit hours have already been completed. Upon the successful oral defense of the thesis, a grade of Pass (“P”) will be assigned.

The thesis must demonstrate the student’s capacity for creative expression, research, ability to organize and interpret data, and ability to report research in an acceptable style. The thesis subject is approved by the major professor and by the student’s thesis committee no later than the close of the semester preceding that in which the student is planning to complete degree requirements. If degree completion is planned for a summer session, the thesis subject must be approved no later than 60 days after the first day of classes in the spring semester. The thesis shall be in the form prescribed by the University as presented in the Guide for Writers of Dissertations and Theses, available on the Graduate Programs website.

The student’s thesis committee approves the thesis, including passing its defense. The thesis must be delivered to the major professor at least four weeks before the anticipated commencement date. The original, with the Thesis Defense Form signed by all thesis committee members, must be submitted to the Registrar by the deadline listed on the University’s Academic Calendar. The completed thesis will be submitted online through ProQuest according to the Thesis/Dissertation guide. The student is required to purchase two copies of their thesis for the Library.

Thesis Committee

The Graduate Music Program Director, upon recommendation of the major professor, will approve the student’s thesis committee. The committee comprises a minimum of three (3) committee members. The chair of the committee must hold Regular Graduate Faculty status at Arkansas State University. Students can elect to have two (2) co-chairs when specialized expertise is required for their research topic. If a co-chair is appointed, at least one of the co-chairs must hold Regular Graduate Faculty status at Arkansas State University. All other members must have Regular, Professional, or Affiliate Graduate Faculty status at Arkansas State University and represent areas of the student’s research, as approved by the Graduate Council. In order to register for thesis hours, a Request to Form Thesis or Dissertation Committee Form and a Submission of Thesis or Dissertation Proposal Form must be completed and submitted to the Registrar before students can enroll in thesis hours.

Comprehensive Exams

Master’s of Music and Master’s of Music Education candidates are required to take a comprehensive examination over Music Theory, Music History, and Pedagogy. The questions will be related to the courses taken throughout their coursework at A-State. The comprehensive examination is written and will take 3 hours to complete. Students will receive their questions two weeks prior to the examination from the Graduate Music Program Director. Each section will be graded as a Pass/Fail.

An examination period is scheduled by each department during each full semester (Fall and Spring). The date of the examination is announced in writing to all enrolled students, and all previously enrolled students who have requested notification, no later than the second week of the semester.

Master’s candidates may choose to take the comprehensive examination at the department’s scheduled time during any enrollment period. Students must notify the department chair of intent to sit for the examination at least two weeks prior to the scheduled test date.

Students must pass the examination within the six-year time limit for completion of degree requirements. Prior to a deadline established by the University for each enrollment period, the Registrar must be notified in writing via email when students have passed or failed the examination. Students failing the examination may repeat it at a time approved by the comprehensive examination committee but no earlier than the next scheduled period.

Students who fail the comprehensive examination a second time will not be eligible for the degree.

Applied Music Guidelines

Students enrolled in Performance Applied Music (private studio lessons) are subject to the following policies:

Lesson attendance is expected every week. Advance notice should be made to the teacher for any missed lessons.
Rescheduling missed lessons is at the discretion of the professor. If a professor cancels a lesson, it will be rescheduled.
All applied teachers will provide a syllabus each semester including grading policies, practice requirements, required materials, learning outcomes, etc. After careful study of the syllabus, students should direct questions to the applied teacher.
Juries are required for final examinations in applied music for all music majors on primary instruments. Music majors will perform required material before faculty members in the performance area. Check specific area guidelines, in some areas if a student passes a recital hearing and performance a recital, they are not required to perform a jury in that same semester. Music majors on secondary instruments may be asked to complete a jury but are generally not required. This is determined by the applied music teacher.

Offerings of Performance Applied Music and the expectations for practice are documented in the A-State Graduate Bulletin as follows.

MUAC 66101 - One hour credit. One half hour lesson per week. Fall, Spring. May be repeated for credit. Special course fees may apply. Five hours practice required.
MUAC 66102 - Two hours of credit. Two half hour lessons, or one 1 hour lesson per week. Fall, Spring. May be repeated for credit. Special course fees may apply. Ten hours practice required.

Jury Policies

Juries are scheduled during Final Exam Week.
Jury scheduling is typically organized by each Area Coordinator (Brass, Woodwind, Percussion, Voice, Strings/Keyboard, Composition). Students will be notified of the proper procedure for sign up or scheduling during the semester, which will also be added to the A-State Department of Music Knowledge Base under Current Students.
Students may be excused from a jury if a degree recital has been performed and passed during the same semester (enrollment required). Check area guidelines for more information.
Students should be prepared and on time for jury performances. Dress appropriately; consult with your applied teacher.
Jury panel members may require legal copies of repertoire. Performance area coordinators will provide guidelines.
A Repertory Form, which is a record of student work for the semester, will be completed each semester and presented at the jury. Sheet music for the jury may also be uploaded to this form.
The jury panel will grade each performance exam, as well as complete a performance evaluation online, which students may view by request of the applied teacher. The effect of the jury panel grade on the final course grade for the semester is determined by the applied teacher.
Applied composition students are expected to have a jury each semester, unless the requirement is waived by the primary applied teacher. The exact format and schedule for these juries will be determined by the composition faculty and addressed in the syllabus.
Collaborative pianists may be assigned to students for their jury performances every semester or on alternating semesters (based on availability). See the section below for more information on Collaborative Pianist Guidelines.

Collaborative Pianist Guidelines

Questions regarding these policies may be directed to Keyboard Area Coordinator, Dr. Lauren Schack Clark (lsclark@astate.edu).

Requesting a Collaborative Pianist

Once a pianist has been assigned the assigned pianist will get in touch with the student to set up the first rehearsal.

Applied teachers should rehearse with each student and the assigned pianist at least once before every performance.
Students and applied teachers should strive to set an exact date for Tuesday Morning Recital performances before giving music to the pianist.

Disclaimer of Availability of Collaborative Pianists

Guidelines for Instrumental Students

Pianists and applied teachers will keep records of lessons and performances.
To request a collaborative pianist (instrumentalists only), students must fill out the Collaborative Pianist Request Form. Once a pianist has been assigned the assigned pianist will get in touch with the student to set up the first rehearsal.
The amounts of rehearsal time to be granted for each type of performance are given below. The times can be broken up as needed. For example, for Tuesday Morning Recitals, students can have 2 thirty-minute rehearsals or 3 twenty-minute rehearsals, etc.
- Tuesday Morning Recitals/Juries (one piece): One hour rehearsal
- Exit Juries: 2 pieces, 2 hour rehearsal; 3+ pieces, 3 hours rehearsal
- Half Recital: 3 hours rehearsal in addition to recital hearing, dress rehearsal, and recital
- Full Recital: 5 hours rehearsal in addition to recital hearing, dress rehearsal, and recital
The students must give all music to the pianist at least 4 weeks before the first performance. Digital PDFs are preferred. Please do not send photos of pages. Many free scanning apps are available, and there is also a scanner in the Computer Lab on the first floor of the FAC.
The student must tell the pianist at least 4 weeks in advance about any upcoming classes or recitals on which they plan to perform.
If the previous two guidelines are not met, the pianist has the right to refuse to play the performance.
The student and the pianist will both come to all rehearsals with notes (and words) learned accurately. The student will not rely on the pianist to teach the basics of the repertoire.
Prior to giving music to the pianist, students should write all measure numbers, metronome markings, cuts, ritards, etc., in the pianist's score.
The student should retain a copy of the piano score for study, and to view while listening to recordings.
Applied teachers should rehearse each student with the assigned pianist at least once before every performance.
Applied teachers should strive to set an exact date for Tuesday Morning Recital performances before giving music to the pianist.

Guidelines for Voice Students

Pianists and applied teachers will keep records of lessons and performances.
Dr. Lauren Schack Clark will schedule lessons for all collaborative pianists working with singers. The voice faculty should not schedule lessons without consulting Dr. Clark. Tentative degree recital dates and student class/work schedules should be provided as early in the semester as possible.
Lessons and performances will be either with a live pianist, or a recording will be provided, depending on availability of pianists. For live performances, students will have at least 1 rehearsal with the pianist, and at least 2 other meetings, which can be an additional rehearsal and 1 additional lesson with the applied teacher and the pianist, or 2 lessons with the applied teacher. For any additional services, the student should check with their pianist and/or Dr. Clark to see whether extra compensation is required.
Voice teachers should carefully consider extra lessons, make-up lessons, requests to play in lessons on "off weeks," or performances requiring added expense to the university or student. Pianists cannot be paid extra by the university, so payment will be expected directly from the student at the time of service. Should additional meeting times with a pianist be required, voice teachers must notify pianists at least 3 days in advance. Pianists have the right to refuse attendance at such extra meetings.
If vocalists or voice faculty cancel a lesson and want to meet on an off-week, it is up to the pianist’s discretion whether they will attend.
The student must give all music to the pianist at least 4 weeks before the first performance. Digital PDFs are preferred. Please do not send photos of pages. Many free scanning apps are available, and there is also a scanner in the Computer Lab on the first floor of FAC.
The student must tell the pianist at least 4 weeks in advance about any upcoming classes or recitals on which they plan to perform.
If the previous two guidelines are not met, the pianist has the right to refuse to play the performance.
The student and the pianist will both come to all rehearsals with notes, rhythms (and words) learned accurately. The student will not rely on the pianist to teach the basics of the repertoire.
Prior to giving music to the pianist, students should write all measure numbers, metronome markings, cuts, ritards, etc., in the pianist's score.
Pianists playing in person for degree recitals will not provide recording tracks for singers unless recordings are made during lesson times
Absence Policy for Voice Students: Excused absences when the pianists is normally present, MAY be made up only ONCE per semester during an agreed time between the teacher, student, and pianist (preferably during the "off-week" lesson time, but must be BEFORE the next lesson).
Singers must provide pianists with a translation of each song/aria, at least 2 weeks prior to the first performance. The translation will be marked neatly or typed in the copy of the score, next to each corresponding word.
Students and applied teachers should strive to set an exact date for Tuesday Morning Recital performances before giving music to the pianist.

Area Guidelines

Links to all area guidelines can be found in the Knowledge Base under Current Students.

Music Scholarships and Honors

Privately Funded Scholarships

Spectrum Concert

Research Travel Funding

There are a couple opportunities from A-State to help fund travel for academic presentations and creative works to peer-reviewed scholarly venues.

Graduate School

The Graduate School offers travel assistance up to $700 for academic presentations and creative works to peer-reviewed scholarly venues. Students must submit an application, forward the letter or email confirming acceptance, and provide the names of the Graduate Music Coordinator (Dr. Kristin Leitterman) and the Department Administrative Assistant (Alandria Maddox) to Dr. Brad. Rawlins (brawlins@astate.edu).

Assistance is awarded on a first come basis until funds are no longer available, and may be used only for conference fees, lodging, and travel (not meals or personal car mileage). Successful applications should also include contribution from the department or college demonstrating shared support for the activity.

After travel is completed, the student should submit a travel report to the Graduate School. Once approved, funds will be transferred back to the department.

Office of Student Research and Scholarship

The Office of Student Research and Scholarship awards research travel funds to students who have submitted abstracts, or the disciplinary equivalent, such as auditions, and are accepted to present at a conference. Applications are accepted during both the fall and spring semesters, and will be accepted until funds are expended. Notification of presentation acceptance must accompany the application.

Students may request up to $500 for individual travel and up to $500/student in a group for group travel. Group travel applies when two or more students are attending the same event.

Use the attached budget form to create your travel budget. Travel budgets should include all expected expenses and a list of other funding sources (including any others you have applied for).

If you are awarded travel funds, you or your group are obligated to present your research or creative project at the next Create@State symposium, scheduled each spring semester. You are also expected to attend and participate in workshops presented by the Student Research Council. Students who attend SRC workshops regularly may be given priority.

Graduate Assistantships

Students admitted to Graduate Programs may be eligible to receive financial support in the form of an assistantship. The primary purpose of a graduate assistantship is to promote the student’s successful completion of an academic program while giving them experience working in an academic environment. Graduate assistantships support the University’s teaching, research and service missions for the benefit of students in areas closely related to their chosen field of study. There are three types of graduate assistantships at A-State: Graduate Teaching Assistants (GTA); Graduate Research Assistants (GRA); and Graduate Administrative Support Assistants (GSA). Assistantships are awarded by academic year and are not automatically renewed. Reapplication is required. Assistants must maintain a 3.0 GPA to remain eligible.

Graduate Teaching Assistant: A graduate teaching assistant (GTA) works with a supervising faculty member to gain instructional skills and an increased understanding of the discipline. The GTA’s primary responsibilities are to support the University’s instructional mission. Services provided by a GTA may include some or all of the following: classroom or laboratory teaching; advising and mentoring of students; proctoring examinations; grading papers, homework, and/or projects; accompanying/ coaching musical or vocal performances; providing artistic instruction or assisting with preparation and management of materials and programs that are utilized in imparting knowledge; or providing other general assistance in the instruction process.

Graduate Research Assistant: A graduate research assistant (GRA) works with a supervising faculty member to provide general support to the University’s research mission. These responsibilities may or may not relate directly to the student’s thesis or dissertation. Duties of the GRA primarily involve applying and mastering research concepts, practices, or methods of scholarship. Services provided by a GRA may include some or all of the following: assisting faculty members in a research or creative activity; performing degree-related professional or administrative services that support research, instruction, professional development, or outreach missions of the university; developing and evaluating instructional materials or curricula; or assuming responsibility for designated scholarly endeavors.

Graduate Administrative Support Assistant: A graduate administrative support assistant (GSA) works with University administrators to gain leadership and administrative/program management skills and an increased understanding of the administrative aspects of the discipline. The GSA’s primary responsibilities are to provide general services to administrators in support of the University’s mission. These responsibilities may or may not be directly related to the student’s chosen field of study. Services provided by a GSA may include some or all of the following: assisting with the development of program materials, planning and co-hosting special events, gathering information and generating reports, office correspondence, program promotion, general public administration duties, and other essential functions of the discipline or program.

Student Workers: A student worker is different from a graduate assistant. A student worker is an employed student who may not meet some or all of the above criteria pertaining to graduate assistants. Student workers must be paid based on actual time worked as assigned. Documentation of hours worked via a time sheet and an hourly wage of at least the minimum wage are required.

Graduate Assistantship Workload: The University limits the workload of graduate assistantships in order to ensure that students make adequate satisfactory academic progress and complete their degrees within appropriate time limits. A full graduate assistantship is estimated to be the equivalent of 20 hours of work per week. These guidelines are applicable to all academic terms.

Graduate Assistantship Tuition Waiver: All graduate students employed in a full graduate assistantship (20 hours/week) for the entire semester will receive a waiver of the out-of-state/international portion of the tuition and will be responsible for paying the in-state portion of the tuition for that semester. All Graduate Research Assistants at the master’s and specialist level will have the in-state portion of the tuition paid as arranged by the student’s graduate program.

Graduate Assistantship Courseload: Master’s level assistants must enroll in at least 6 graduate hours per semester and may not exceed 12 hours including undergraduate courses. They must enroll in at least 3 graduate hours during summer if holding an assistantship.

Student Organizations

Health and Safety

Title IX Non-Discrimination and Reporting Statement

Email: title9@astate.edu

Phone: 870-972-2015

In Person: Administration Building, Suite 104

Mail: Office of Institutional Integrity and Title IX, P.O. Box 1500, State University, AR 72467

Grievances

Every student on campus has responsibilities and rights. For any reporting of misconduct or filing of academic grievances please refer to Reporting on Campus.

Music Faculty Resources

Music Faculty Handbook

Follow this link for a PDF version of the handbook below: Music Faculty Handbook 2026-2027

Music Faculty Handbook

FOREWORD

The Music Faculty Handbook is specifically provided as a guideline to all music faculty currently serving in the department as part of the overall nine departments included in the College of Liberal Arts and Communication. These guidelines are in addition to the A-State Faculty Handbook and the Music Student Handbook found on the Website.

Section I: Mission, Goals, Organization, and Safety

Department of Music Mission Statement

We educate and elevate our students and community through music by cultivating personal connections and encouraging growth towards individual goals.

Core Values

Educate the Whole Individual, Inspire Musical and Personal Growth, Build Community Locally and Beyond

Vision Statement

Department of Music Goals and Objectives

The goals of the Department of Music are to provide:

a congruous sequence of courses for all degree offerings;
a learning environment that fulfills the academic and artistic needs of students;
a curriculum with an effective historical base balanced by new trends in the arts and education;
advanced programs and degrees for those who plan to pursue graduate studies;
an atmosphere for valuable individual instruction, mentoring and advisement;
a qualitative and quantitative growth of the program, faculty and staff;
plans for additional resources, such as, facilities, equipment and operating budget;
a generous and consistent number of talented music majors to warrant advancement in future programs;
experiences that nourish the musical awareness of the university and surrounding community; and
a global perspective in educational opportunities through artistry at all levels extending to the international experience.

The following objectives are utilized to meet these goals.

Curriculum: maintain/improve vigorous curricular offerings within all degree programs;
Institutional Collaboration: implementation of cross-departmental programs, courses, and activities;
Facilities: strive for continuing improvement for safe, well-equipped learning and performance spaces;
Finances: seek various and gainful resources through the Office of Development
Faculty: hire and retain progressive-minded specialists within prospective fields of music
Staff: maintain/employ administrative, clerical and technical staff adequate for the Department of Music
Scholarships: provide competitive awards in all performance areas
Outreach: further efforts in serving the musical education/preparation for community youth
Library Resources: utilize continuous funding creatively to stay abreast through means of modern technology
Professional Visibility: encourage on- and off-campus performances and scholarly activities, which bring prestige to the university and attract prospective students
Professional Development: seek further means and support for the improvement of knowledge, competence, skill and effectiveness on the part of the faculty.

Department of Music Structure and Governance

A detailed list of Music Department administration, organization, and committee membership is available in the Microsoft Teams General Channel, Organization folder.

Department Chairs are responsible to their respective deans for the general management and operation of their academic areas. They represent their departments to the deans and university administrators, support faculty in their professional development, and work with faculty to improve instructional programs and to develop programs that are responsive to changing needs of students. They are responsible for evaluating and recommending faculty members to the dean of their college for employment, retention, promotion, tenure, non-renewal, and dismissal; for the preparation and administration of budgets for the departments; for the recommendation of course offerings to the dean; for the supervision of the academic advisement of students majoring in the department; and for the acquisition, use and care of departmental equipment. Department Chairs play a particularly important role in encouraging and sustaining scholarship, research, and participation in professional activities by members of their faculty. They also supervise other personnel in the department.

Area Coordinators play an important role in the Music Department hierarchy. Their job description is as follows:

Assist with Student and Faculty concerns within Area
Assist in Mentoring students
Schedule and organize Juries
Assist Chair of Assessment in gathering Jury and Recital results and other information
Keep Area Guidelines and other Website/Social Media information up to date
Schedule Recital Hearings in coordination with student’s applied faculty member
Serve on Honors Thesis, and Master’s Recital Document committees within your Area if needed
Serve as a liaison between Area Students/Faculty and Chair/Assistant Chair
Assist with Guest Artists for your Area, if needed
Coordinate studio assignments as applicable
Potentially serve on a search committee if there is a vacancy in your area
Advocate for your area at the Department level and advocate for the Department at higher levels
Promote diversity, inclusion, and equity in your area
Manage policies in your area
Coordinate auditions for admission to a voice related degree (voice only)

Health and Safety and Building Information

Health and Safety guidelines for musicians are available on the Department of Music Knowledge Base under Health and Safety.
See the Department of Music Administrative Specialist in the Music Office for keycard access to the Fine Arts Center.

All keys are checked out requiring signature in person. Should a faculty member or approved visitor require temporary access to space in the facility, a key may be checked out in the Music Office.
Assigned master keys are not to be used for access to any private studios by any person other than the faculty member for which the space is intended. All studios contain private information regarding student grades, etc. which needs to be secure.
Safety/Building Regulations mandate that no keys should be given on loan to faculty, students, or persons not affiliated with Arkansas State University. Graduate Assistants are assigned keys that are appropriate for job responsibilities.
Office and classroom windows should remain uncovered at all times.
Password protected university devices are only for use by the faculty member for which the device was intended.
When rooms are not in use, doors to classrooms, studios, rehearsal halls and the recital hall must be kept locked.
Unauthorized use of rooms, keys, etc. should be reported to the Department Chair.
Security cameras are located in the band room, outside the choir room, in the breezeway, and on either side of the Recital Hall lobby.
The University Police Department can be reached at 870-972-2093
Fine Arts Center Hours:

Monday – Friday:

Fine Arts Center: 7:00 am – 11:00 pm
Percussion Annex: 7:00 am – 5:30 pm

Saturday:
Fine Arts Center: 8:00 am – 11:00 pm
Percussion Annex: Locked

Sunday:
Fine Arts Center: Locked
Percussion Annex: Locked

Note: Hours apply to normal academic sessions.

The building is not scheduled to be open during official university holidays.

Music Student Handbooks

The Undergraduate and Graduate Music Student Handbooks can be found on the Department of Music Knowledge Base. All faculty within the department are expected to read the Music Student Handbooks, familiarizing themselves with the policy and procedures, in order to best serve their students.

Section II: Policies and Procedures

Faculty Teaching Loads

The teaching workload of each music faculty member is calculated by means of various formulae specific to course types. Music academics, ensembles, applied lessons, and other unique courses are figured differently. The expectation for tenure-track faculty is a workload of 12 credit hours per semester, plus additional hours to cover creative activities and service. Full-time temporary instructors are assigned teaching loads of 15 credit hours per semester, with no additional responsibilities or reassigned hours being granted for additional responsibilities.
All full-time faculty must turn in a load sheet each semester; an example is available in the Microsoft Teams General Channel. Further details on faculty workload may also be found in the A-State University Handbook, II.B.1-5.
Calculations for music faculty load:

Lecture Classes (e. g. Music History or Music Theory)

Faculty load hours coincide with the credit hours for the course (typically equivalent to the contact hours)
Contact time credit may be given for credit hours less than contact hours

Private Studio Lessons (e. g. Performance Applied Music)

1 credit hour is worth .33 faculty load
2 or 3 credit hours are worth .66 faculty load (e. g. the same load is received for Upper Level courses, MUSP 3112 and 3113, for performance majors)

Observation of Interns

Comparable to Performance Applied Music
Covering all observation for 1 student intern is .66
Covering ½ observation requirements (elementary OR secondary) is .33

Pedagogy and Performance

Taught as a class: comparable to lecture classes
Taught privately: comparable to Performance Applied Music

Ensembles (all 1-credit courses)

Small ensembles meeting once weekly earn 1 hour of faculty load
Large ensembles meeting several times weekly are unique
Faculty load is generally more than 1 hour, but may not be equivalent to contact hours

Recitals & Chamber Music

An applied faculty member will receive .5 load credit for any student giving a half or full recital that semester and .5 load credit for each chamber ensembles they are coaching.

Load considerations: ensembles involving productions/multiple performances/events, and those taught by directors receiving a reassignment of teaching load

Team-Teaching

Option 1: One instructor is the “teacher of record” and receives the appropriate load for a portion of the course; the other is given a reassignment for load credit
Option 2: All teachers are “on record” and load is split accordingly

Honors Sections

Honors classes may be created for necessary honors credit within existing courses (honors students attend regular classes, but course curriculum is enhanced); no additional faculty load awarded
Private honors classes: comparable to Performance Applied Music

Thesis Courses:

Honors or graduate thesis courses may have variable credit
Work distribution determines faculty load
Committee chair/advisor responsible for majority of load
Option 1: advisor/committee chair may receive the entire load credit
Option 2: load may be dispersed among the committee (not necessarily evenly)

Special Projects

Comparable to Performance Applied Music
Independent Studies
No load credit

Graduate Faculty Status

Graduate faculty may be appointed as a Regular Member, a Professional Member, or as an Affiliate Member. In exceptional cases, the dean or administrator may recommend reclassifying faculty between statuses, subject to approval of the Graduate Council. Each category has associated qualification standards, appointment requirements and procedures, and privileges and responsibilities, as defined by the college and/or department.

Upon hire as a pre-tenure or tenured faculty member, an initial graduate faculty appointment will be made for up to a six-year term. Upon promotion to associate or full professor, a graduate faculty appointment will reset to a new term of up to six years.

Qualifications

Regular Member

A Regular Member of the graduate faculty must be a full-time tenured or tenure track faculty

member with a terminal degree. In exceptional cases, unique experience, specialized training,

and professional competence may substitute for a terminal degree. Regular Members must

have documented evidence of an appropriate level of scholarly activity and continued

participation in graduate education at the course, committee and program levels, as defined by

the college and/ or department.

Approved for six years, which time the member may reapply. Appropriate terminal degrees in

the Department of Music are the PhD, EdD, DMA, DM, or DA. Disciplines may include

Music Education, Musicology, Theory/Composition, Piano/Instrumental/Vocal

Performance, Instrumental/Choral Conducting, Collaborative Piano, Piano/Instrumental

Vocal Pedagogy.

A Provisional Regular Member may be assigned to a Regular Member whose status is up for

renewal and the Graduate Council determines that they do not meet the requirements for full

Regular Member. Such approval may extend to two years and will not be renewed nor

repeated.

Professional Member

A Professional Member is a full-time, non-tenure or part-time/adjunct faculty member with a

terminal or graduate/professional degree in the discipline. Professional certification is

considered when appropriate. Significant professional experience is required, as defined by the

college and/or department. Limits on committee membership and courses taught may be

applied as defined by the college and/or department. Approval may extend to six years, at

which time the member may reapply.

Affiliate Member

An Affiliate Member is an individual not currently employed by Arkansas State. Such

membership requires a minimum of a master's degree appropriate in the field of practice.

Limits on committee membership and courses taught may be applied as defined by the college

and/or department. Approval may extend to six years, at which time the member may

reapply.

Appointment Requirements and Procedure

Applications for graduate status will be submitted to the departmental graduate program

director. Expectations for graduate faculty status include evidence of professional activity

membership in professional organizations, participation in regional and national meetings,

and excellence in teaching.

Appropriate scholarly activity for music faculty include a combination of international,

national, regional, state or local activities such as performing a solo recital, performing a solo

with orchestra/band/choir, accompanying a recital or ensemble, performing in an ensemble,

conducting an ensemble, having an new original composition performed, serving as a clinician

or adjudicator, teaching master classes or seminars, attendance at conferences, and/or

publishing articles in scholarly music journals and forums. In addition, music faculty members

should maintain active service to the department through participation in committees and/or

other duties.

Upon review of applications, the departmental graduate program director and chair of the

Department of Music will make a recommendation to be approved by the dean of the College

of Liberal Arts and Communication, as well as the Graduate Council.

Privileges and Responsibilities

A Regular Member may teach graduate courses at any level, serve on the Graduate Council,

direct research, and serve on thesis and dissertation committees for students pursing master’s,

specialist and doctoral degrees. With the approval of the graduate program director and the

Graduate Council, a Regular Member may chair thesis and dissertation committees. Those

chairing such committees should either have prior experience or work with a departmental

mentor.

Student Mentoring

Undergraduate music students are assigned three-person team, consisting of a professional advisor, a faculty mentor, and a student success specialist. This team provides comprehensive support from a student’s arrival at A-State through graduation, helping with enrollment, financial aid, campus involvement, and career opportunities. The faculty mentor is typically the major applied teacher. In some cases, the assigned advisor may be the area coordinator (e.g. Voice, Keyboard Studies, Brass) and those seeking degrees in music education may be secondarily mentor with the appropriate supervisor (instrumental or vocal).
The Fine Arts Advisor for Fine Arts is Imani Udoumana. She can be contacted in her office, Humanities 2061, via phone (870) 972-3823, or by email at iudoumana@astate.edu.
Graduate students are advised by the Music Graduate Coordinator.
General Music Department policies and degree information may be found in the Undergraduate Music Student Handbook. See the A-State Academic Calendar for registration deadlines.

Course Outline & Syllabi

Faculty must submit their syllabi through Simple Syllabus. This can be found through Pack Portal, or directly through the Canvas shell for the class. Syllabi must be approved by the Department Chair before it shows up in the Canvas shell for students. Syllabi must be completed by the eleventh day of class each semester. All syllabi must align with specific university and department curricular descriptions and learning outcomes.
Syllabi Instructions, examples of syllabi aligned with curriculum maps, and sample syllabi for undergraduate and graduate courses can be found at the Office of Accreditation & Assessment Knowledge Base Simple Syllabus Page.
Program Outcomes can be found int he Department of Music Undergraduate and Graduate Music Student Handbooks.

Collaborative Pianists

The Music Department provides collaborative pianists for students for required lessons, studio classes, and performances. There are, however, some cases where recorded tracks may be provided or in which a pianist cannot be guaranteed. Every student using a pianist, all collaborative pianists, and all applied faculty members must agree to these terms and must fill out the Collaborative Pianist Contract each semester. By acknowledging each point and signing your name you agree to the collaborative pianist guidelines for that semester.

Collaborative Pianist Guidelines are available in the Undergraduate and Graduate Music Student Handbook. Questions regarding these policies may be directed to Keyboard Area Coordinator, Dr. Lauren Schack Clark, lsclark@astate.edu.

Performance Applied Music Records

Applied Lesson Record Form

An Applied Lesson Record must be kept for all music majors each semester. Sample Applied Lesson Records are available in the Microsoft Teams General Channel. Records may be kept electronically or on file. All information in the example form must be documented.

Repertoire Sheet

A complete record of repertoire and technical studies should be kept for all music majors by the applied instructor each semester. Repertoire sheets should be submitted for area

approval at the time of each student’s upper level proficiency and exit proficiency or recital.

Sample Applied Lesson Records are available in the Microsoft Teams General Channel. See

Area Guidelines for information specific to the areas.

Applied Area Guidelines

Each area of applied study (brass, keyboard, percussion, strings, voice, and woodwinds) must provide guidelines including information regarding repertoire/technique requirements, juries, proficiencies, program admittance, and recitals. The performance expectation for various levels of study within each degree program must be specified (lower, upper or graduate level

for secondary or major applied study).

Speech Proficiency Exam Option

Bachelor of Music Education students may elect to attempt a Speech Proficiency Exam to fulfill the Oral Communication (COMS 1203) degree requirement. This examination is administered on a pass/fail basis. Should a student fail the exam, COM 1203 can be completed, or an additional proficiency may be scheduled. Information regarding the Speech Proficiency Exam may be found on the Department of Music Current Students book. Please note the paperwork to be submitted following the successful examination process. For more information, please contact Speech Proficiency Exam Coordinator, Dr. Stephanie Hoeckley, shoeckley@astate.edu.

Faculty Development Funds and Professional Travel Requests

The Travel Authorization Form must be submitted to the Department of Music Administrative Assistant for all professional trips, whether funding is received or not. It must be completed at least one month in advance for all faculty and student domestic travel; allow three months for international travel. Once the Travel Authorization Form is completed a Travel Request will be created in Concur, which MUST be submitted and approved at least two weeks in advance of domestic travel and two months for international travel. For the Travel Request to be created in Concur, you must make sure that the Administrative Assistant is your expense delegate in Concur. More information can be found in the Microsoft Teams General Channel. Travel Information folder.
Faculty leading student trips that take place over the academic calendar must provide at least two weeks email notice to the faculty in the Department. The notice should include who is going on the trip, where they are going, when they will depart and return, and justification for the absence.
CLAC is allotted a specified amount of Faculty Development funds annually. An email from the CLAC Dean’s Office will announce when they will start accepting proposals. Proposals for funds should be submitted to the Department of Music Faculty Development Committee, who will then send on to the CLAC committee.
Full-time tenure-track faculty members are eligible to apply for Faculty Development funds. Consideration of full-time temporary instructor and adjunct applications is at the discretion of the committee. Junior faculty are often the focus as recipients of these funds.
Upon return from the professional activity, recipients of Faculty Development funds must submit a summary report of the experience to the Dean’s Office. A discussion involving how the university, its faculty, and the students of the Department of Music will benefit from this knowledge, is an expectation for the report.
The Faculty Development Committee is comprised of full-time tenured faculty members. Should members of the committee desire to apply for funds; they may recuse themselves while being considered.

Textbooks and Instructional Supplies

Textbook adoptions should be submitted to the A-State Bookstore via the icon within the Textbook Adoptions Tool for Faculty in Pack Portal. Instructions for textbook adoptions including deadlines are sent via email to all faculty each semester.

Student Grades

Grades must be submitted by each faculty member via Banner within the Pack Portal under the Banner Faculty/Advisor tool. The Academic Calendar provides a schedule for all grades. Further information about grading and deadlines may be found on the Webpage of the Registrar. Reminders are sent to all faculty via email.
It is important to note the early deadline for final grades for seniors, which precedes the general due date for grade submissions. Grades not posted by the deadline must be submitted in written form and signed by the faculty member, department chair, and college dean, which will result in a delay of the student’s receipt of grades, scholarships, and graduation documents.

Department Faculty Meeting, Recitals, and Events

Attendance for full-time tenured and pre-tenure faculty at Music Department meetings is mandatory. Adjunct and full-time temporary instructors are welcome but not required to attend.
Faculty attendance is expected for appropriate juries and degree recitals.
Any faculty responsible for hearing scholarship auditions are expected to attend Department of Music Audition Days. Audition Days are an essential part of recruiting and provide a positive on-campus experience for prospective students. While occasional absences may be unavoidable, faculty are to make every effort to attend all Audition Days, each academic year. If an audition day must be missed, it is the faculty member’s responsibility to communicate that to the Recruiting Committee so that alternate arrangements can be made.
It is strongly recommended that all faculty attend as many music student, faculty, and guest artist events as possible. This not only serves the purposes of thorough and varied assessment of the departmental student body and ensembles, but supports the many excellent contributions of the Department of Music community.

Recruiting, Scholarships, and Audition Requirement

Outreach and recruitment are essential duties for all faculty. Area coordinators, faculty mentors and ensemble directors should be consulted for current recruitment assistance including (a) district region maps, (b) links to relevant national and regional professional and educational organizations, and (c) important recruiting events and initiatives on and off campus. Official university name badges are available for faculty by asking the music administrator and are encouraged to be worn while representing the university off-campus.
General scholarship and audition information may be received from the appropriate area coordinator or ensemble director in charge of the corresponding funds (ex. Band, Choir, or Keyboard). Private scholarship information can be found on the Department of Music Website or from the current Scholarship Committee chair for the department. Consult area coordinators, faculty mentors, and ensemble directors for the requirements to retain or revoke awarded music scholarships.
Audition information for each area is posted on the Department of Music Website. Faculty may determine the appropriate repertoire and audition requirements for their area in consultation with their area coordinator at the end of each Spring semester. Alterations to audition requirements may not change in the middle of the semester once auditions for that upcoming year have already taken place.
There is no official reimbursement for visits to local schools, but departmental resources exist to facilitate outreach and recruitment. College funding is available for graduate student recruitment.

Search Guidelines

The University Faculty Handbook provides information on the policies and guidelines surrounding faculty searches.
Detailed information regarding the search process within the Department of Music is available in the Microsoft Teams General Channel.

Infrastructure Requests

All A-State students pay an infrastructure fee which goes to fund equipment used by and/or for students. A list of Department of Music requests is compiled and prioritized by the Music Infrastructure Student Advisory Committee, which includes at least two music majors, and five faculty advisors. The list is submitted to the Dean of the College of Liberal Arts and Communication who meets with the student representatives from each department. This college committee of student representatives prioritizes the list as a group, which is passed on to the university level. Typical music infrastructure requests include instrument and technology purchase or replacement.

Guest Artists & Lectures

Funding for guest artists and lecturers may be supported by the Department of Music or the instrumental and choral areas. See the A-State Director of Bands, Director of Choral Activities, and the Music Department administrative assistant for more information (Fine Arts Center, room 203). The University Lecture Concert Series is also a possible venue for guest artists. Proposals are generally due around February 1st for inclusion in the following year’s programming.

Reserving Rooms

Reserving rooms for the Department of Music may be accomplished on the Music Website via the Room Request Form and Room Availability Calendar on the Faculty Resources Knowledge Base Page. First, check for available dates by consulting the Events Calendar, which not only provides activities in Recital Hall and Fowler Center, but shows organization events on and off-campus so that faculty and students are aware of conflicts. Events and rehearsal dates may be requested by completing the Event Scheduling Form. Notification via email will be received for confirmation of scheduled events. The room is not officially reserved until the faculty member receives a confirmation email. Contact the music administrative assistant regarding appropriate off-campus activities which should be added to the Events Calendar.

Public Marketing

Any materials created by faculty for promotion or publication, in print or online, should use approved A-State logos, QR codes, colors, and fonts. You can find the approved A-State Graphic Standards on the University Marketing & Communications Knowledge Base page. Please contact Creative Services regarding permission for utilizing approved publication materials.

Department Website

All department members are expected to keep a current headshot, bio, and curriculum vitae on the Department of Music Website. Links to professional Webpages as well as supporting pictures, articles and legal recordings, are welcome for posting. Contact the Department Website administrator for assistance.

Restricted Activities

Activities such as recitals, concerts, studio classes, rehearsals, lessons, classes, advising appointments, or study reviews cannot be required for students during the following academic calendar days or periods:

Midterm Exam Week
Study Day (Dead Day/Stop Day)
Final Exam Week
Football Game Days
From 5pm the Friday before a Break to the Monday when classes resume

Scheduling student recitals in close proximity to Fall, Winter, Spring, and Summer breaks is not advised, as it can create problems for the attendance of students, faculty, and required committees.

All final exams and juries must take place during exam week.
No faculty meetings should be called on Study Day.
Any special study sessions or activities planned during exam week cannot be required of the students.

Copy Machine

The department copy machine can be found in FAC 140. There is currently no login to use the copy machine, so please make sure the room is locked when leaving so students do not use the copy machine. If you have a problem with the copy machine, please contact the Administrative Assistant in the Department of Music Office immediately.

Inclement Weather

The university remains open for academic classes and all other services during inclement weather except in extreme circumstances determined solely by the Chancellor of the University. Regional and local news media will publicize the closing. Commuter students are encouraged to use good judgement in deciding whether to drive to campus during inclement weather. In those cases where the decision is made not to travel to campus under this policy, it is the responsibility of the student to immediately contact each of his/her professors upon return to the explain the circumstances and to determine the need to complete any missed assignments. The student is responsible for all missed assignments during inclement weather within a time frame to be determined by the professor.

If a faculty member deems it unsafe to travel to campus and therefore must cancel a class, lesson, rehearsal, or performance, it is his or her responsibility to contact affected students in a timely manner and alert the department Administrative Assistant of the cancelation.

Performance Programs

All Department of Music performances should have a professional, printed program to accompany them. Programs must include date of performance, time of performance, location of performance, performers’ names, performers’ voice parts or instruments, titles of works, dates of works, composers of works, dates of composers, and arrangers. Programs for vocalists should include program notes. Student recital programs should not include any thank yous or acknowledgements. It is the responsibility of a student’s applied teacher to look over his or her recital program to ensure that it follows these guidelines. A Student Recital Template can be found on the Department of Music Current Students page webpage for your reference.

Productivity and Merit

Each December, all full time faculty are required to submit their productivity on the Faculty180 software. The information entered for that calendar year will be used for the yearly evaluative process and to help determine merit. Each faculty member will be ranked according to criteria that addresses their teaching (through student/teacher evaluations, evaluations of class observation, professional development), their service (to the department, college, university, community, and profession), their research and creative activities, and their support of the department and university (recruitment, retention, participation in university endeavors, advising success, visibility in the community and at department events, etc). Faculty should be liberal in choosing what they enter into the Faculty180 software so they can adequately display their efforts in the aforementioned areas.

Commencement

The Director of Bands confirms with the office of Academic Affairs and Research (AAR) what will be the instrumental needs for fall and spring commencement ceremonies. A student quintet prepares and performs 20-25 minutes of pre-ceremony music, Pomp and Circumstance for the faculty procession, and the National Anthem and Alma Mater with the Choir. Two rehearsals prior to commencement will be scheduled with the Director of Bands. The Director of Choral Activities will prepare a choir for fall and spring commencement ceremonies and a soloist for the summer commencement ceremony. These groups perform the National Anthem and the Alma Mater. The pre-ceremony and procession portions are shared with a pianist. All work with an AAR representative to move necessary equipment, such as keyboard, bench, chairs, stands, risers, to and from First National Band Arena. It is recommended that faculty and performers be present for a sound check during the commencement walk-through, which is typically the afternoon prior to the ceremony.

Faculty Mentors

New full-time faculty member will be assigned two faculty mentors by the chair of the department. One of the mentors is typically in the new hire’s area. New faculty are encouraged to seek counsel and answers to questions from their assigned mentors before going to individuals further up the higher education hierarchy.

“In Performance at A-State” Radio Show

“In Performance at A-State,” is a weekly radio program that features recordings of musical performances from Arkansas State University Department of Music students and faculty members. The program is one hour and broadcasts on KASU 91.9 FM every Wednesday at 9 p.m., and on Sunday at 6 a.m.

Support for the production and promotion of this series is provided by grants from the Kays Foundation and the Arkansas Arts Council. The program host is Dr. Ed Owen, professor of music. Nathan Taylor, KASU production engineer, produces the program.

In addition to the weekly radio broadcast on 91.9 FM, “In Performance at A-State” may also be heard via live-streaming through KASU’s website, kasu.org; through the KASU mobile app; and on smart speakers such as Amazon Echo and Google Home.

In order for new performances to be added to the KASU line up, a KASU Performance Release Form needs to be filled out by the performing students and their faculty member(s).

Assessment

Assessment is an essential part of the Teaching & Learning Cycle. It not only provides essential information to students about their progress in their classes and degree but, when used correctly, it can provide valuable information to the teacher about their own effectiveness in the classroom and it can generate data that is essential for the advocacy of the Department of Music, its faculty, resources, facilities, and students.

Every department on the A-State campus has assessment reporting responsibilities and the Department of Music is no different. Every year the department’s assessment coordinator must fill out reports that speak to how effectively the department is meeting the program level outcomes of each of the degrees it offers. Each program level outcome requires a minimum of one direct assessment and one indirect assessment so that the coordinator can report on how the department is meeting these program level outcomes for their students.

In music, an exit survey for all graduating music students serves as an indirect assessment for all program level outcomes. Area coordinators must help the assessment coordinator ensure that every graduating music major, graduate and undergraduate, completes this before they leave A-State. These exit surveys should be issued electronically, and graduates should have ample time to complete them thoroughly in order for the assessment to be as valid and reliable as possible.

The only other two indirect assessment measures being currently used are the repertoire performed by the large ensembles and self-evaluations in Elementary Conducting. The assessment coordinator will reach out to ensemble directors and the Elementary Conducting teachers and ask for their repertoire lists and self-evaluations at the end of each semester.

The direct assessments used to measure progress toward Program Level Outcomes are jury and recital evaluations, undergraduate music history exams, undergraduate & graduate conducting evaluations, edTPA scores, Praxis scores, Summative Internship Evaluations, Graduate Comprehensive Exams, Graduate Thesis and Recital Papers. The Assessment Coordinator will be asking for data from these assessments each semester from Area Coordinators and the Graduate Coordinator. It is the Area and Graduate Coordinator’s responsibility to provide the Assessment Coordinator with three items.

The raw data from the assessment (scores, grades, etc)
A brief comment on whether performance on the assessment met, didn’t meet, or exceeded expectations.
A brief comment on what will be the next step, given the results. If assessments met or exceeded expectations, it is perfectly acceptable to tell the assessment coordinator that no changes to instruction or assessment are needed. If an assessment does not meet expectations, it is imperative that the coordinator detail what in instruction or assessment will change so that next time expectations are met.

Recital Guidelines

Students majoring in the BME or BM Performance (Concentration in Instrumental, Vocal, Keyboard) who are enrolled in MUAC 11142, 31302, 33103, or 66102 applied lessons must perform a solo on a Tuesday Morning Recital on their primary instrument once a semester. First-semester freshmen are not required to do so. Solos are defined as works for voice and keyboard, unaccompanied instrumental solos, and works for one instrument and keyboard.
Substitution for Student Recital requirements include Studio Recitals, Half or Full Recitals, and other performances of solos as defined above, in front of an audience.
Students majoring in the BM Concentration in Composition are required to have original works performed at least once a school year in front of an audience on Tuesday Morning Recitals, Composition Recitals, Studio Recitals, Chamber Music Recitals, or other performances in front of an audience. First-semester freshmen are not required to do so.
Students majoring in the BM Concentration in Composition who are also enrolled in vocal or instrumental lessons (MUAC 11131, 11142, 33101, 66101, or 66102) are also encouraged to perform on a Tuesday Morning Recital or other approved performances (see above) on their major instrument/voice, but are not required to do so.
MUAC 33130, Half Recital (half-length, approximately 25 minutes of music or as approved by the student’s primary applied teacher) is required of all Bachelor of Music Performance, Jazz Studies, Music Industry and Bachelor of Music Education students. Recital hearing required 2-4 weeks prior, depending on area. Check area guidelines for exact requirement.
MUAC 44131, Full Recital (full-length, approximately 45 minutes of music or as approved by the student’s primary applied teacher) is also required of all Bachelor of Music students. Recital hearing required 2-4 weeks prior, depending on area. Check area guidelines for exact requirement.
MUAC 66301, Graduate Recital (full-length, approximately 50 minutes of music or as approved by the student’s primary applied teacher) is required of all Master of Music students. Check the Graduate Music Student Handbook for exact requirements.
For all student recital performances, appropriate dress for the occasion is expected. Students should confer with their applied teacher for these expectations.
Recital receptions are permissible directly following various performances in the Fine Arts Center Lobby. Please notify the Music Office of your needs at least two weeks in advance. Full clean-up is expected afterwards with tables, benches and chairs returned to their proper places.

Note: Each recital must be approved by the appropriate applied teacher.

Guidelines for Planning a Recital

Order of Scheduling

Ensemble Directors/Lecture Concert Series/Faculty Recital Series

Date requests begin April 1 for entire academic year

Applied Faculty (Faculty Recitals/Studio Recitals/Guest Artists)

Date requests begin April 15

Graduate & Senior Degree Recitals

For Fall Recitals: Date requests begin May 1
For Spring Recitals: Date requests begin October 1

Junior Degree Recitals

For Fall Recitals: Date requests begin May 15
For Spring Recitals: Date requests begin October 15

All other events

For Fall Events: Date requests begin August 15
For Spring Events: Date requests begin November 15

Degree Recital Deadlines (to request a date)

Fall Recital: September 5
Spring Recital: December 1

Any recitals attempted to be scheduled after these dates cannot be guaranteed.

Standardized Concert Times

2:00p - Saturday + Sunday
5:00p - Monday + Tuesday + Thursday + Friday + Saturday + Sunday
7:30p - Monday + Tuesday + Thursday + Friday + Saturday

All concerts would be scheduled with 60 minutes added to the front of the recital for sound checks prior. For a full recital the recital will be scheduled for 90 minutes (plus 60 minutes on the front). For a half recital the recital will be scheduled for 60 minutes (plus 60 minutes on the front). The extra 30 minutes for the schedule of the recitals will allow for any extra time greeting audiences after and cleaning out the hall.

Recital Hearings

Occur 2 to 4 weeks before the scheduled Recital, depending on Area preference.

Area Guidelines for Brass, Keyboard, Percussion, String, Theory & Composition, Voice, and Woodwinds can be found on the A-State Department of Music Knowledge Base on the Area Guidelines page.

Are performed for Area Faculty only
Area faculty will assess the performance using the Department Assessment Form, and the student’s major professor will share their feedback with the student. Areas will determine the number of faculty members needed.
If all pertinent faculty cannot be present, hearings may be recorded, so they can be shared with these faculty later

Forms:

Recital Date Request Form to submit their top three date choices

Date Availability Calendar has all available recital dates listed for students to choose their preferred dates.
Student + Applied teacher will be emailed to confirm which date was selected from their top three choices.

Publicity Form

Collects official program and headshot for the recital
Due 4 weeks before the recital

KASU Performance Release Form

To be filled out by the student and their applied faculty member if they wish their recital to be featured on KASU. More information can be found in section XXIX of this handbook entitled “In Performance at A- State” Radio Show.

Section III: Promotion, Retention, Tenure (PRT) and Post-Tenure Review

A. University and College Level PRT Information

For a description of the overall tenure and post-tenure review process, refer to the University Faculty Handbook, Section III., Faculty Ranks, Promotion, Retention, Tenure, and Post-Tenure Review.
The College of Liberal Arts and Communication PRT document can be found in Pack Portal under Faculty Resources in the Promotion & Tenure (PRT) link.

B. Department of Music Criteria for Promotion and Tenure

Revised: October/November 2022, Effective Academic Year 2023-2024

Procedures for Reviewing Promotion and Tenure Requests

As stated in an annual memorandum of the University Promotion and Tenure Committee:

Requests for consideration for promotions must be made by individual members of the faculty seeking

promotion. Each member of the faculty who desires to apply for promotion will be provided a form with

which to present their request.

Forms are available on A-State’s Pack Portal.

As outlined in the Faculty handbook:

Each academic department may maintain a standing committee on promotion and tenure of a minimum of

five members of the department. If the department cannot form a committee of at least three tenured faculty

members, the Dean should consult informally with department Chairpersons and the senior faculty members.

Each college and independent department will elect one representative from the college

committee, or from the college or independent department, if no college committee exists,

to the University Committee on Promotion and Tenure to serve a two-year term.

As a faculty member’s file is reviewed by the department committee, department chair, the

College Promotion and Tenure Committee, and the Dean, every effort will be made to verify

all material. At any stage, a reviewer may ask an applicant to substantiate productivity or

service claims. It is expected that reviewers will add explanatory notes where appropriate.

An applicant for promotion will not serve on the College/University Promotion and Tenure

Committee during the time their application is under review. If the college representative to

College Promotion and Tenure Committee will elect a replacement to take their place on the

University Promotion Retention Committee for that academic year.

Tenure

As stated in the Faculty Handbook:

Tenure is a status granted in the academic community to faculty members who have proved themselves over a

period of time. Tenured faculty may expect to continue in their academic positions unless adequate cause for

dismissal is demonstrated in a fair, objective hearing; according to the procedure of due process.

Only full-time faculty and administrative personnel holding academic rank above the

instructor level may gain tenure. Notice of tenure will be given through the Provost and

Executive Vice Chancellor for Academic Affairs and Research, and the Chancellor.

Persons initially appointed as professors, associate professors, or assistant professors must be

reviewed for tenure no later than the completion of their sixth year of service at Arkansas

State University, and tenure must be granted with the start of their seventh year of service at

A-State. When warranted by an individual’s record and experience, a prospective faculty member may

negotiate the terms of initial employment regarding tenure status and academic rank. Such an agreement

must be based on the thorough review and positive recommendations of the Department PRT Committee.

Documentation of the negotiated terms authorizing application for early tenure and/or promotion must be in

writing and signed by the Dean of the college, the Provost and Executive Vice Chancellor for Academic

Affairs and Research, and the Chancellor of the university. No obligation to grant tenure is implied by such

an agreement.

The Department PRT Committee will review annually the progress towards tenure of pre

tenured faculty and will prepare written recommendations regarding retention that will be

forwarded to the Department Chair and the candidate. The Chair will review the retention

recommendations, add their recommendations, and send them to the Dean for

consideration. A Comprehensive Pre-Tenure Review will be implemented and completed in

the third year of employment at A-State for all pre-tenure faculty, regardless of rank. This

review will require that all third year pre-tenure faculty members submit documentation of

performance in the areas of teaching, scholarly activities, and service using the tenure

application format.

The Department PRT Committee, the Department Chair, and the Dean will formally review

this documentation and provide appropriate feedback to each third-year, pre-tenure faculty

member regarding their progress toward tenure. Pre-tenure faculty will be evaluated for

tenure and promotion based on the department, college, and university criteria in place

during their third year of employment on a pre-tenure appointment.

Since it is unusual for a faculty member to amass a performance record reflecting exemplary

productivity in less time than the standard probationary period, accelerated tenure is rare.

However, any faculty member has the right to submit an application seeking tenure during

any application period in which they can clearly demonstrate meeting the performance

criteria expected during the mandatory review. If a faculty member fails to earn tenure in this accelerated review cycle, they may apply for tenure again only in the sixth year of the pre-

tenure cycle.

Persons holding the rank of instructor will not receive tenure, and the time spent as

instructor will not be credited to the pre-tenure probationary period required by those ranks

in which tenure may be earned.

Tenure represents a major commitment by the university. A tenure recommendation is one

of the most important professional decisions made within the university. In a tenure review,

the university will assess not only the faculty member’s record in the areas of teaching,

research/creative activity, and service, but will evaluate the faculty member in terms of the

extent to which the individual serves the missions, objectives, goals, and needs, present and

future, of the department, the college, and the university.

Specifically, to expect a favorable tenure recommendation, a faculty member must:

Present a record of teaching, of scholarly, creative, and professional productivity, and of service consistent with that required for promotion to associate professor. (Explanation: Tenure may be awarded to individuals in the assistant rank. In such cases, however, there must be definite and substantial evidence that the individual is establishing a record that should qualify them for promotion within two years.)
Be adjudged by peers, the Chair, the Dean, and the College Promotion and Tenure Committee as having maintained an active role in helping the department and college meet their missions, goals, objectives, and needs.

Criteria for Promotion to Assistant Professor

While possessing a terminal degree is traditionally a requirement for promotion to Assistant

Professor, the requirement may be waived in the exceptional instances when a faculty

member has had employment and performance experiences that constitute a generally

accepted substitute for the terminal degree. Demonstrating these experiences will depend

upon the faculty member’s area of musical specialization.

Music is a discipline that involves two general areas of specialization and expertise: creative

and academic. Creative specialties include performance, composition, and conducting.

Academic areas consist of music history, music theory, and music education. Evaluation

criteria for the areas differ in that recognition and productivity as a performer, composer, or

conductor demonstrates mastery of the creative field, and research demonstrates mastery of

the academic specialties.

To be promoted to Assistant Professor without a terminal degree, a performer, composer, or

conductor must document a record of creative productivity for the most recent six-year

period. A musician specializing in music history, music theory, or music education must

document a record of scholarly productivity for the most recent six-year period. Recognition

and productivity at the state, regional or international level will be considered.

In addition to meeting specific criteria for creative/scholastic activities, the faculty member

must also meet the criteria appropriate for the teaching and service mission of the

university.

Evidence of teaching excellence, as measured by evaluation of students, peers and supervisors.

Awards won by the faculty member’s private students either in competitions or in gaining acceptance and/or graduate assistantships in large, reputable graduate schools or in applied music areas.
Demonstrate the ability to recruit and mentor students.
Consideration should be given to undergraduate and graduate recitals by students coached by a faculty member.
Advanced study by the faculty member with eminent teachers in that person’s principal teaching area.

Evidence of creative/scholarly activities at the state, regional, national, or international level.

Creative activities may include:

Solo recital by invitation, audition, or one reviewed by recognized authorities.
Solo performance with an orchestra, band, or choir.
Accompanying a solo recital or ensemble.
Performance in an ensemble, choir, band, orchestra, or opera company by invitation or audition (e.g., Arkansas Symphony, Atlanta Symphony, Memphis Symphony, Dallas Opera Theater, Kansas City Lyric Opera).
Conducting a large or small ensemble that receives recognition of excellence.
Serving as a clinician, directing master classes, serving as an adjudicator, or being invited to give demonstrations or lead a discussion at conventions or symposiums (e.g., NFMC Auditions, NATS, MTNA, International Piano Masters Competitions, Metropolitan Opera
Auditions, or any national wind, string, percussion guild).
Participants in master classes, seminars, or symposiums that require an audition for acceptance.

Scholarly activities include:

Papers presented at traditional scholarly music forums, either independent or sponsored by state, regional, national, or international organizations (e.g., MTNA, NAfME, ACDA, NATS, ABA).
Articles, books, and compositions published by recognized publishers or professional organizations (e.g., Southern Music, Carl Fischer, William C. Brown, American Music Teacher, National Association of Teachers of Singing Bulletin, Journal of Research and Music Education, American Choral Directors Journal, Piano Magazine, journals of national and international wind, string, and percussion associations.
Awards, grants, or commissions received pertinent to the faculty member’s teaching area.
Live performances and/or recordings of original compositions

Evidence of service at the university, community, state, regional, national, or international levels.

Student advising.
Departmental, college, and university committees.
Sponsorship of student organizations.
Faculty governance activities.
Public school and community consulting, workshops, and other collaborative activities.
Performance for civic and church group

Criteria for Promotion to Associate Professor

Possession of the terminal degree appropriate to the teaching, research and service mission

of the college or evidence in professional scholarly, creative, and service activities. While

possessing a terminal degree is traditionally a requirement for promotion to Associate

Professor, the requirement may be waived in exceptional instances when a faculty member

has had employment and performance experiences that constitute a generally accepted

substitute for the terminal degree. Demonstrating these experiences will depend upon the

faculty member’s area of musical specialization.

Continuance of teaching excellence, as measured by evaluations of students, peers, and supervisors.

Awards won by the faculty member’s private students either in competitions or gaining acceptance and/or graduate assistantships in large, reputable graduate schools in an applied music area.
Demonstrate the ability to recruit and mentor students.
Consideration should be given to undergraduate and graduate recitals by students coached by a faculty member.
Advanced study, by the faculty member, with eminent teachers in that person’s principal area of teaching.

Continuance of scholarly/creative/professional activity on the state, regional, national, and international levels.

Solo recital by invitation, audition, or one reviewed by recognized authorities.
Solo performance with orchestra or similar ensemble such as a band or choir.
Accompanying a solo recital or ensemble.
Performance in an ensemble, choir, band, orchestra, or opera company by invitation or audition.
Conducting an ensemble, large or small, which receives recognition of excellence.
Serving as a clinician, directing master classes, serving as an adjudicator, or being invited to give demonstrations or lead a discussion at conventions or symposiums in the faculty member’s appropriate area.
Participation in master classes, seminars, or symposiums that require an audition for acceptance.
Publication in traditional scholarly music forums, either independent or sponsored by state, regional, national, and international organizations; MTNA, NAfME, ACDA, NATS, ABA, etc., should be considered criteria for tenure or promotion.

Continued service on the university, community, state, regional, national, and international levels.

Student advising.
Department, college, and university committees.
Sponsorship of student organizations.
Faculty governance activities.
Public school and community consulting and workshop activities.
Performance for civic and church groups.

For promotion to Associate Professor, excellence in teaching is mandatory. However, an

applicant is not required to excel in both scholarly productivity and service. An especially

meritorious record in one area may offset a less-than-exemplary record in the other area.

Criteria for Promotion to Professor

Possession of the terminal degree appropriate to the teaching, research and service mission

of the college or evidence of excellence in professional scholarly, creative, and service

activities. While possessing a terminal degree is traditionally a requirement for promotion to

Professor, the requirement may be waived in the exceptional instances when a faculty

member has had employment and performance experiences that constitute a generally

accepted substitute for the terminal degree. Demonstrating these experiences will depend

upon the faculty member’s area of musical specialization.

Outstanding achievement in teaching excellence, as measured by evaluations of students, peers, and supervisors.

Awards won by the faculty member’s private students either in competitions or in gaining acceptance and/or graduate assistantships in large, reputable graduate schools in an applied music area.
Demonstrate the ability to recruit and mentor students.
Consideration should be given to undergraduate and graduate recitals by students coached by a faculty member.
Advanced study, by the faculty member, with eminent teachers in that person’s principal area of teaching.

Outstanding achievement in scholarly/creative/professional activity on the state, regional, national, and international levels.

Solo recital by invitation, audition, or one reviewed by recognized authorities.
Solo performance with orchestra or similar ensemble such as a band or choir.
Accompanying a solo recital or ensemble.
Performance in an ensemble, choir, band, orchestra, or opera company, by invitation or audition.
Conducting an ensemble, large or small, which receives recognition of excellence.
Serving as a clinician, directing master classes, serving as an adjudicator, or being invited to give demonstrations or lead a discussion at conventions or symposiums in the faculty member’s appropriate area.
Participation in master classes, seminars, or symposiums that require an audition for acceptance.
Publication in traditional scholarly music forums, either independent or sponsored by state, regional, national, and international organizations, i.e., MTNA, NAfME, ACDA, NATS, ABA, etc., should be considered criteria for tenure or promotion.

Outstanding achievement in service on the university, community, state, regional, national, and international levels.

Student advising.
Departmental, college, and university committees.
Sponsorship of student organizations.
Faculty governance activities.
Public school and community consulting and workshop activities.
Performance for civic and church groups.

For promotion to Professor, outstanding teaching and exemplary achievement in scholarly/ creative productivity are mandatory, and a consistent record of service must be obvious.

Ranking of Levels

National or international

This is the highest level and the rarest. The level will be determined by the prominence of the

sponsoring group or geographic location of the event and the scope of its influence. For

example, performing with the New York Philharmonic would certainly be an event of national

significance, while a performance at the Spoletto Festival in Italy would be international

recognition. A faculty member presenting a solo recital under their own auspices will provide

critical reviews of such a performance as written by authorities. The most accessible

experiences at these levels will include an invitation to perform, conduct, direct master classes,

etc., at national or international conventions.

Regional

Regional is defined as a professional creative activity such as recital, workshops, master classes,

or presentation of papers at a regional convention of a professional music organization. It

may also be defined as a professional/creative activity outside of Arkansas but not of

sufficient scope to be considered a national or international level activity.

State

This includes events that demonstrate recognition of the faculty member’s expertise on a

state-wide (Arkansas) basis. It will consist of activities such as being a guest soloist on other

Arkansas college campuses, playing in a symphony as a soloist or regular member, singing with

an opera group, or presenting seminars, etc., in areas of this state outside of Northeast

Arkansas.

Local

These are events in Jonesboro and what is generally considered Northeast Arkansas. A

problem arises at this level in separating “professional creative activities” from the

requirements of the university contract with the individual and items of community service.

Since this is the most accessible level, the quantity of activities is significant. It is necessary to

use a slightly different list of activities for this level than for the other three levels.

These are:

Faculty recitals (solo or joint recitals presented on the A-State campus or within the accepted boundaries described as Northeast Arkansas.
Solo performance with ensembles in this region of the state.
Collaborative recitals in this area of the state.
Ensemble performances (faculty groups performing on campus or in this region of the state.)
Serving as clinician or adjudicator in this region of the state.
Conducted performances (ensemble performances conducted by a faculty member in this region of the state). The ensemble may be an outside group that is non-A-State or conducting performances of A-State organizations in concerts that exceed the number normally considered as a contractual requirement. For example, the directors of the various music department groups, such as choirs, bands, or ensembles, are generally expected to conduct one performance per semester as part of the requirements for the position. If they wish to expand their own and their students’ creative activities by doing additional concerts, then these extra performances should be considered commendable endeavors toward professional advancement.

Justification

The presentation of solo recitals, performances with orchestras, conducted concerts,

ensemble programs, or accompanying such activities requires many hours of preparation.

These hours of preparation and study also qualify the individual as a valuable clinician,

adjudicator, or contributor to a master class or symposium. In general, the preparatory steps

include the following:

Research

Proper preparation for any of the activities listed above requires hours of study and research

of historical and stylistic performance practices of the music performed. A typical program

will contain music from several different style periods and several different composers.

Preparation

Any performing individual must devote many hours per week of rigorous, disciplined

practice to maintain the physical strength and coordination necessary to retain mastery of

their instrument. The conductor must constantly work to maintain the ability to

communicate musical ideas to a group. The preparation of a selected program will take

additional hours over several weeks, and often months, to develop mastery of the chosen

literature. Singers must study and master the foreign language text to understand and project

textual ideas more effectively. Instrumentalists must constantly learn new techniques

required by the most contemporary music styles. In general, approximately fifty to eighty

hours of research, study, and practice are devoted to preparing one sixty or seventy-minute

concert or recital.

Performance

Any time a musician performs, they are placed in a situation of peer review. The musician’s

work as a composer, performer, conductor, or accompanist is displayed for all to evaluate.

Thus, the reputation a musician has earned is based on the evidence of public exposure.

Music Faculty Resources

Room Reservation Links

Room Availability Calendar
Room Reservation Form

Music Faculty Resources

Music Event Scheduling

Recital/Concert Scheduling Links

Important dates for faculty scheduling: April 15:
Date Requests begin for faculty recitals, studio recitals, and guest artists

Scheduling Procedure
Date Availability Calendar
Recital Date Request Form
Publicity Form
Program Template

Fowler Specific Forms
Fowler Request Form (Recitals, Rehearsals, Recordings)
Fowler Setup Form

Music Faculty Resources

Various Music Links

Music Faculty Resources

FAC Technology Help Guides

Recital Hall

Computer Sound Instructions

Live-streaming

Department of Music

About

Contact Information

Music Facilities

Area Guidelines

BRASS GUIDELINES

Applied Music Guidelines – Brass Area

JAZZ GUIDELINES

Jazz Recital Guidelines

PERCUSSION GUIDELINES

PIANO GUIDELINES

A-State Keyboard Degree Program Guidelines Undergraduate and Graduate

STRINGS GUIDELINES

COMPOSITION GUIDELINES

VOICE GUIDELINES

WOODWIND GUIDELINES

A-State Woodwind Degree Program Guidelines Undergraduate and Graduate Woodwind Students

Current Students

Collaborative Piano

Health & Safety

Juries

Music Speech Proficiency

Room Reservations

Tuesday Morning Recital

Undergraduate & Graduate Recitals

Spectrum Concert

Application Form

Guidelines

Music Events Calendar

Music Student Handbooks

Undergraduate Music Student Handbook

Graduate Music Student Handbook

Graduate Music Student Handbook

Music Faculty Resources

Music Faculty Handbook

Music Faculty Handbook

Room Reservation Links

Room Reservation Links

Music Event Scheduling

Recital/Concert Scheduling Links

Various Music Links

Travel

Funding Proposals

Faculty & Student Achievements

FAC Technology Help Guides

Recital Hall

A-State Keyboard Degree Program Guidelines
Undergraduate and Graduate

A-State Woodwind Degree Program Guidelines
Undergraduate and Graduate Woodwind Students