Dear music majors,

Welcome to Quincy University and the beginning of a new stage of your development as a musician. Every successful musician must demonstrate strong technical ability, awareness of different styles and how they are to be performed, knowledge of how music is put together, and the ability to create ensemble. You already possess each of the skills to a certain degree. Over the course of the next four years, you will develop these skills so that you can use them at the appropriate level in the career which lies before you. The purpose of this handbook is to facilitate your learning and to give you an overview of that process.

Three principal areas are covered in every music degree:

Performance (private lessons and ensembles);

How music is put together (music theory);

How music has been created throughout time (music history).

Other areas pertinent to your specific degree enhance and augment these basic areas.

Course work taken in the music department will help you build on your knowledge of these areas, but how far and how well you develop is up to you.

In order to help you keep track of your development, and to make sure you are at the appropriate stages throughout, two specific times of evaluation have been established by the music faculty. At the end of your sophomore year, you will complete qualifying exams which demonstrate your development to that point. As you conclude your undergraduate studies, a comprehensive experience (typically a recital and paper) will serve as the “crowning achievement” for your degree. These evaluations are outlined in this handbook.

The purpose of this handbook is to help you, not scare you. Please remember that all of us on the music faculty are eager to help you become the best musician you can be. This handbook, together with the guidance of your mentor and advisor, will help keep you on track.

Welcome to QU! We look forward to that day when we will call you ‘colleague.’

The QU Music Faculty

Christine Beason Lecturer of Music Education	Mr. Louis Margaglione Professor of Music
Mr. Allen Means Visiting Coordinator of Vocal Studies	Mr. Steve Parke Jazz Artist-in-Residence & Coordinator of Professional Multi-media
Ms. Leonora Suppan-Gehrich Artist-in-Residence

QUINCY UNIVERSITY MISSION STATEMENT

Quincy University stands as a Catholic, independent, liberal arts institution of higher learning in the Franciscan tradition. Inspired by the spirit of Francis and Clare of Assisi, we respect each person as a sister or brother with dignity, value, and worth. We work for justice, peace, and the integrity of creation. We prepare men and women for leadership and for the transformation of the world by educating them to seek knowledge that leads to wisdom. We welcome and invite all to share our spirit and life.

DIVISION OF FINE ARTS AND COMMUNICATION

MISSION STATEMENT

The faculty of the Division of Fine Arts and Communication set as their mission:

Ø To guide students in their discovery of the rich and diverse heritage of the fine arts and the liberal arts;

Ø To support students in their growth and development as creative individuals, team members, and contributors to the success of others;

Ø To provide students with expertise, assistance, resources, and models of integrity, intellectual acuity, critical and creative thinking, and lucid expression;

Ø To prepare them to have a positive impact through principled servant leadership in careers and in service to the larger community;

Ø To impart the values, skills, and traits of character essential to lifelong learning.

MUSIC PROGRAM MISSION STATEMENT

The Quincy University Music Program rooted in the liberal arts tradition, is committed to the fullest development of individuals, and dedicated to the preparation of aesthetically sensitive and committed creators and perceivers of music.

MUSIC FACULTY BIOGRAPHIES

Christine F. Beason was appointed Lecturer of Music Education at Quincy University in 2005. Her duties include teaching music education classes and coordinating music education curriculum with state standards. She is also the new director of the basketball pep band.

Mrs. Beason received a Bachelor of Music Education from Georgia State University in 1996, and a Master of Music Education from the University of Illinois at Urbana-Champaign 2003. She is currently pursuing a doctorate in education at the University of Illinois. Mrs. Beason was Director of Athletic Bands at Eastern Illinois University from 2003 to 2005 where she directed the Panther Marching Band and Concert Band, and taught Brass Methods and Music Appreciation. Prior to her appointment at EIU, Mrs. Beason taught for six years in Marietta, Georgia as the Director of Bands at Smitha Middle School. During that time, she also worked as an assistant at Osborne High School in Marietta, Georgia.

Recently Mrs. Beason accepted a position as Co-Governor of Kappa Kappa Psi for the North Central District.  She is also an honorary member of the Eastern Illinois University chapter of Kappa Kappa Psi, and holds memberships in the Collegiate Band Director's National Association, Music Educator's National Conference, Illinois Music Educator's Association, Women Band Directors International, and College Music Society.

Mrs. Beason is active as an adjudicator and clinician. She has made guest appearances with numerous high school bands in Georgia and Illinois, and teaches private brass and conducting lessons. She has also taught drill writing courses for students at EIU.

Mr. Louis Margaglione is Professor of Music at Quincy University. He began teaching at Quincy University in 1965. His teaching duties include applied woodwinds (clarinet, flute, oboe, saxophone and bassoon), conductor of the symphonic band, conducing and advanced conducting. He has taught music theory, sight-singing/ear training, woodwind methods. He has also functioned as chairman of the Music Department and Music Coordinator at Quincy University. Mr. Margaglione has appeared as clarinet soloist throughout Illinois, Missouri, Iowa and New Jersey. He also has been guest conductor with various high school bands and is an adjudicator for solo, ensemble, band and orchestra competitions. He performed as solo clarinetist with the Quincy Symphony for over 25 years. Mr. Margaglione received his B.S. in Music Education from Ithaca College, Ithaca, N.Y. and his M.S. in Music Education at the University of Illinois and was solo clarinetist with the University of Illinois Symphony Orchestra on their full semester tour of South and Central America in 1964. He has studied clarinet with David Weber (N.Y.), Clarke Brodie (Chicago Symphony), and Elsa Ludwig Vedehr. Students of Mr. Margaglione have gone on to graduate work at Michigan State University, University of Illinois, Manhattan School of Music among others. He also has students who have gone on to perform with many Symphony Orchestras and military bands.

Mr. Allen Means

Allen teaches choir, voice, and low brass at Quincy University. He has a Master of Arts degree in voice performance from Western Illinois University. He also has a Bachelor of Arts in trombone performance from Quincy University and a Bachelor of Music in vocal performance with teacher certification from Liberty University. He played a number of roles in operas as a college student, including the role of Grandpa Moss in a production of Aaron Copland’s The Tenderland at Liberty, and the role of Martin in Leonard Bernstein’s Candide at WIU. Allen also has sung professionally with the Saint Martin Chamber Players in Peoria and the Muddy River Opera in Quincy. He performed the role of Antonio in Mozart’s Le Nozze di Figaro in the spring of 2005 with the Saint Martin Chamber Players. For Muddy River Opera, he performed the role of Boatswain in their January, 2006 production of Gilbert and Sullivan’s H.M.S. Pinafore, and the role of Mayor/Coyote/Ranchero in the spring children’s opera production of Enrique Gonzales-Medina’s How Nanita Learned to Make Flan.

Mr. Steve Parke is currently employed at Quincy University in the music program with the official title of Artist in Residence and Coordinator of Professional Multi-Media. His teaching responsibilities include courses in Applied Brass Instruments, Brass Methods, Business of Music, Composition and MIDI, Orchestration, History of Jazz and Rock, First-Year Experience, Principles of Audio Production, Electronic Technologies and Society, Jazz Improvisation and Jazz Ensemble while also serving as Advisor/Mentor to university students. In addition, Parke has performed with many Quincy area music ensembles including the Quincy Symphony Orchestra, Quincy Park Band, Quincy Brass Quintet and the Big River Swing Machine.

His professional experience includes performances and features with the Jim Widner Big Band, Buddy DeFranco, Bobby Shew, Frank Mantooth, Steve Weist, Roger Enghram (lead trumpet player for Harry Connick, Jr.), Bill Watrous, Clark Terry, Louis Bellson and many others. Among Parke’s musical compositions are Introduction, Melodie, Swing! Performed in September 1994, by the Quincy Symphony Orchestra, a jazz Big Band chart called Swing This! premiered by the Jim Widner Big Band at the 1995 Missouri Music Educators Conference held at Osage Beach, MO, and another jazz chart commissioned by the Hannibal High School, Hannibal, MO, entitled Dogs are from Mars, Cats are from Venus, which was recorded on CD in the summer of 1996 and released for sale to the public. Works composed in the summer of 1997 include Red Rose within a Blue Moon for piano performed in recital by fellow faculty member Leonora Suppan-Gehrich in her recital at Concordia University and Spiritus for brass quintet performed on tour by the music faculty of Western Illinois University. Groovin' at O'Griff's was composed in 1999 for the Big River Swing Machine of Quincy.

Before accepting his employment at Quincy University, Parke traveled extensively throughout the United States as a professional musician. Various performance situations include cruise ships off the coast of Florida, the Variety Club Telethon broadcast live from Ames, Iowa, and nightclubs from coast to coast including two years in Las Vegas, Nevada. In 1987, Parke decided to return to Indiana University at Bloomington, Indiana, to finish a Master of Music Degree in performance with a minor in Music Education. He accepted his current teaching position at Quincy University in 1989.

Leonora Suppan-Gehrich is Artist in Residence at Quincy University. She received the Artist’s Diploma from the Hochschule fuer Musik in Vienna and M.M. degree and Performer’s Certificate from Indiana University. Postgraduate studies were pursued at conservatories of Venice and Warsaw, and at the University of Iowa. Before joining the faculty of QU, Leonora taught at Western Illinois University, Culver-Stockton College, and MacMurray College.

She has performed concerts in many European countries (Austria, Germany, Poland, France, England, Portugal, Holland) in Canada, Mexico, and Costa Rica. Her New York debut recital was in Carnegie Recital Hall. Mrs. Gehrich also performed in Town Hall (with cellist Tsuyoshi Tsutsumi) and in Alice Tully Hall at Lincoln Center (as a member of the Leopold Sipe Trio). She was first prize winner and cash award winner in the International Recording Competition of the Piano Guild in 1982 and 1983. In 1992, she was one of seventy pianists from the US and Europe to be invited at the International Beethoven Festival at southern Illinois University. In 1987, Leonora Suppan-Gehrich received an honorary doctorate from Quincy University and in 1988 she was the recipient of the Arts Award of the city of Quincy. In addition to traditional concert repertoire, Leonora Suppan-Gehrich is performing works of women composers at the 5^th Interdisciplinary Conference of Women in San Jose, Costa Rica, 3^rd and 4^th Festival of Women Composers at Indiana University of Pennsylvania; Symposium of Black Women composers at Hampton University; and Focus on African American Music at Dayton University.

GENERAL POLICIES

BUILDING HOURS: TBA. Will be posted.

MUSIC OFFICE HOURS: The music office is staffed for 20 hours each week by the Fine Arts and Communication secretary, who posts hours of operation each semester.

BUILDING REGULATIONS: For many of us, North Campus is a second home. We must take good care of it so that it may serve this purpose to the generations that will follow us. To that end, the following regulations have been established:

• Keep the building clean. No food or drink is allowed in the rehearsal and practice rooms. Deposit trash in the wastebaskets provided.
• The large rehearsal room must be kept locked when not in use. Access may be arranged by calling campus security at x5600. Please note that faculty members can, with good reason, pre-empt the use of the room at any time.
• LOCKERS: Lockers are available on a first-come, first-served basis, through the secretary. You must supply your own lock, and for your protection, lockers must be locked. Students with large instruments should see Mr. Margaglione or Mr. Parke for a large locker. Quincy University and the Music Program are not responsible for any instruments left unlocked and unprotected.

· KEYS: Keys to rooms are not available to any student for any reason. Access to percussion practice rooms, the technology lab, or recording studio is only available to authorized students by contacting Security at x5600. Please do not ask music faculty to grant access to those spaces.

• PRIVATE LESSONS: Due to insurance and liability issues, students are not permitted to teach private lessons in North Campus.
• MUSIC LIBRARY: Students may check out materials from the music library with the assistance of their applied instructor. All materials must be returned before the end of each semester unless other arrangements have been made with the applied instructor.

QU MUSIC LIBRARY: The QU Music Library is located on the lower level of Brenner Library. The library contains musical scores as well as a variety of multi-media materials.

This room is ordinarily locked, but students wishing to use the library may request entry from any library staff member. Headphones, available in the music library, must be used with the audio-visual equipment, and equipment should be turned off when not in use. Musical scores, records, audiocassettes, videos, DVDs, filmstrips and slides may be checked out. However, CDs may not leave the library. CDs must be used only in the listening room.

CONCERT DRESS: Men in the Symphonic Band are required to wear black tuxedos for performances. The Department will supply black tux coats for the nominal fee of $5.00 per academic year. The men must supply their own black pants and bow tie. Women in the Symphonic Band wear black skirts or dress pants with white blouses.

MAJORS IN MUSIC

Quincy University offers the B.A. in Music and the B.S. in Music Education. Both contain either a vocal or instrumental concentration. For more information regarding these degrees, see the current QU catalog. Specific degree checklists are also available online at the QU website.

MINOR IN MUSIC

The music minor consists of 18/19 hours plus ensemble participation. Students must declare a minor in music by the end of the first semester of the Junior year. Transfer students who have taken music courses at another institution will be required to take a proficiency exam to determine satisfactory completion of requirements.

1. Required foundation courses: MUS 113-114 Music Theory I and II; MUS 115-116 Sight Singing and Ear Training I and II; MUS 117 Music Appreciation; and two credit hours of Applied Music.

2. Following completion of foundation courses, student must choose one of the following areas of concentration: Music Theory, Music History, Music Performance, or Music Education. A total of five or six credit hours in one of these areas will complete the Minor.

Suggested courses for each area:

Music Theory: MUS 213-215 Music Theory III and IV 6 hrs.

Music History: MUS 311-312 Music History I and II 6 hrs.

Music Performance: Applied Music (usually one credit per semester;

students will perform on department convocations) 5/6 hrs.

Music Education: MED 317 Elementary School Music 2 hrs.

MED 341 Junior and Senior High School Music 2 hrs.

MED 320 Percussion Methods 2 hrs.

MED 349 Choral Methods 3 hrs.

MED 351 Instrumental Methods 3 hrs.

MED 412 Woodwind Methods 2 hrs.

MED 413 Brass Methods 2 hrs.

MED 330 Intro to Orchestral Instruments 2 hrs.

3. Students are expected to perform in an ensemble each semester.

4. Each student pursuing a Minor in Music must have an advisor from the Music faculty.

SCHOLARSHIPS AND MUSIC GRANTS

The music program offers three distinct scholarships as well as general music grants. All scholarships and music grants are available to qualified incoming freshman who audition before the music faculty prior to their attendance at Quincy University. Current students may petition the music faculty for music grants.

SELECT CHORAL ENSEMBLE SCHOLARSHIP: This scholarship is given to qualifying members of the Select Ensemble (Chorale). It provides $2,500 annually and is renewable for up to four years.

THE HUGH SOEBBING SCHOLARSHIP: This scholarship is given to the outstanding instrumental music major from each entering class. The scholarship provides $5000 each year and is renewable for up to four years. The award is named in honor of the late Hugh Soebbing, an outstanding percussionist and member of the QU faculty.

THE RUSS LAHL BASS SCHOLARSHIP: This scholarship is given to a qualified string bass player and entails obligations to perform with the Quincy Symphony Orchestra and the QU Jazz Ensemble. The amount of the award is dependent upon the annual value of the scholarship endowment; the award is renewable for up to four years. The scholarship is named in honor of the late Russ Lahl, a talented musician who was proficient on both the upright and electric bass.

Music Grants are available to music majors or non-majors and are renewable for a total of four years. All music grants and scholarships require that you take applied lessons in your principal performance area and participate in a corresponding ensemble. Minimum GPAs are also required. Carefully read the contract so you understand your obligations to the program.

Contracts are issued annually and must be signed and returned by the stated deadline. Continuation of a scholarship or music grant is not guaranteed. Each grant and scholarship recipient will be assessed twice each semester based on established criteria. Please see the evaluation form in this handbook. Any student found to be in violation of a contract provision will receive a letter of probation or immediate reduction of the award. A student found to be in violation for a second semester will receive a letter of contract termination, and the scholarship or grant will not be renewed.

SAMPLE MUSIC GRANT CONTRACT

March 17, 2006

*********

*********

*********

Dear *****:

On behalf of the music faculty at Quincy University, I am pleased to announce that you have been awarded a music grant in the amount of $**** for 2006-2007. One-half of your grant will be applied toward your account for the first semester, and the other half will be applied for the second semester.

Your acceptance of this grant entails the following responsibilities for contributing to the success of performing organizations at Quincy University:

1. You are expected to participate in, and register for, all musical activities as requested by the music faculty.

2. You are expected to successfully complete the grant/ scholarship assessment form twice each semester.

3. You are expected to attain a B average in music courses each semester of enrollment.

4. You are expected to take applied music lessons in your performing areas each semester.

5. You are to keep confidential any information regarding music grants.

Failure to fulfill any of these conditions may result in your being placed on probation for the grant or having the grant reduced or revoked.

Since we would like for you to receive any other financial aid to which you are entitled, we encourage you to apply for all other possible sources of aid. Completion of the Free Application for Federal Student Aid (FAFSA) is particularly important. If you do not already have a FAFSA form, please contact the QU Financial Aid Office (217-228-5260) immediately.

To indicate acceptance of this scholarship, please sign both copies of this two-page letter, keeping one for your records and returning the other to my attention by *****. Please accept my congratulations to you on your musical accomplishments. We look forward to your contributions to campus life as a member of the QU music community!

Sincerely,

Dr. Barbara Schleppenbach,

Chair, Fine Arts and Communication

Sample Grant/ Scholarship Assessment Form

Student name: Semester: Fall 2006

Sixteen (16) or more “yes” responses over the semester will result in a continuation of the grant or scholarship. Ten to fifteen “yes” responses will result in a letter of warning. Nine or less “yes” responses will result in immediate termination of the grant or scholarship.

Evaluation 1 date:

1. Student is practicing on a regular basis.	Yes	No
2. Student attends and is punctual for each rehearsal/ lesson.	Yes	No
3. Student shows professionalism and positive attitude in rehearsals.	Yes	No
4. Student shows preparation in rehearsals and lessons.	Yes	No
5. Student shows improvement in quality of musicianship:
tone quality	Yes	No
intonation	Yes	No
rhythm reading ability	Yes	No
sight reading ability	Yes	No
expressive qualities	Yes	No
ability to balance/ blend with an ensemble	Yes	No

Goals for the remainder of the semester:

1.

2.

3.

Student Signature: Faculty Signature(s):

Evaluation 2 date:

1. Student is practicing on a regular basis.	Yes	No
2. Student attends and is punctual for each rehearsal/ lesson.	Yes	No
3. Student shows professionalism and positive attitude in rehearsals.	Yes	No
4. Student shows preparation in rehearsals and lessons.	Yes	No
5. Student shows improvement in quality of musicianship:
tone quality	Yes	No
intonation	Yes	No
rhythm reading ability	Yes	No
sight reading ability	Yes	No
expressive qualities	Yes	No
ability to balance/ blend with an ensemble	Yes	No

Student Signature: Faculty Signature(s):

CRITERIA FOR MUSIC PROGRAM AWARDS

JOSEPH FISHER SCHOLARSHIP (based upon a letter dated May 1, 1967)

1. To be awarded to a student in the Music Program working for his/her degree in teaching.

2. The award may be applied as a portion of the tuition, music lessons or textbook cost. It must in any case be utilized at Quincy University.

3. This award should be made upon the need and merit of the student, as determined by the music faculty.

JUDITH A. WAND MEMORIAL SCHOLARSHIP

1. The recipient must be a Music Education, Music Business, or Liberal Arts Major in Music with at least one year residency.

2. The recipient must possess an attitude toward the art of music, education, and fellow students and teachers that represents the highest in artistic devotion and Christian example to the college community.

3. The recipient must have at least a 2.8 cumulative average in the major field of study except in unusual circumstances in which a student possesses exceptional practical talent.

4. The recipient must have participated in musical activities and ensembles at Quincy University.

In 1972 the recipient was nominated and selected by the music graduates of the Class of 1972. At present, student members of the music program are asked to nominate five carefully chosen candidates from whom the faculty of the program will select the recipient. The scholarship cannot be won consecutively, but may be won more than once.

JOSEPH FISHER PERFORMANCE AWARD (based on a statement of April 23, 1969)

The music faculty seek an expression of opinion from the music majors regarding the choice of a recipient of the Joseph Fisher Award for outstanding performance for this academic year. The requirements for the award are as follow:

1. The award is given for the best overall performance on the major instrument during both semesters in one year.

2. First year students are not eligible for the award.

Five students will be considered for the award based on a vote by secret ballot to be conducted by the students themselves among the music majors of the present semester. The music faculty will make the final choice of a recipient from this field of five nominees.

The Joseph Fisher and Judith Wand awards were established to honor outstanding QU music students who died in their youth.

THE NAOMI WATTS MEMORIAL SCHOLARSHIP

The criteria and selection process are the same as those pertaining to the Judith Wand Scholarship. This award is named in honor of the late Naomi Watts, a respected and beloved vocal music teacher, and was established by a group of her former Quincy students

STUDENT EVALUATIONS OF FACULTY

The goal of the music faculty is to prepare you to be the best musician that you can be. We all have different backgrounds and life experiences that influence our teaching styles. You may prefer one style over another, yet a classmate may prefer the opposite. However, we are not asking for your preferences on the evaluations. We ask that you evaluate your applied instructor or ensemble conductor through thoughtful consideration based on his/her interactions with you.

The university does not require evaluations from every instructor every semester. We ask that if you have a concern or problem with a faculty member that you discuss that with him/her first. Do not wait for an evaluation to vent your frustration, and do not go to another faculty member. Remember, our desire is to see each of you succeed!

CONCERT ATTENDANCE

This course entails attendance at required concerts to develop critical listening skills. It is important that you, as a music major, understand the value of listening to a wide range of art music. You are supporting the perpetuation of live music, encouraging your peers, gaining insight into improving your performance, applying elements of music theory and history, and hopefully having an enjoyable experience. Although you are required to pass this course five semesters, we strongly encourage you to continue attending as many concerts as possible throughout the remaining college years and the rest of your life.

ATTENDANCE: All music majors are required to attend all Convocations. In addition, all music majors are required to attend a total of five approved concerts in which they do not participate (i.e. you can’t count a concert that you are in). The music faculty reserve the right to require specific concerts as part of the five. If you cannot attend a convocation or additional required concerts, you must meet with the faculty instructor prior to these concerts. Otherwise, you must attend two alternate concerts for each required concert absence.

PROCEDURE: Choose approved concerts that are posted, and attend the concert in its entirety. Note the rules of Concert Etiquette that follows. Submit the concert program, with your name on it, to the faculty instructor at the end of each concert. If that faculty member is not present, you must submit the program on the first school day immediately following the concert. Late programs will not be accepted!

ADDITIONAL CONCERTS: The schedule of concerts will be periodically updated.

Please pay attention to the bulletin board. Concerts outside of the Quincy area may also qualify, but must be approved before the concert takes place. Possibilities include, but are not limited to, St. Louis Symphony, Chicago Symphony, other university concerts such as Millikin, WIU, etc. Complete concert calendars for several out-of-town venues are available from the faculty instructor.

GRADING: This course is Pass/Fail. If a student does not attend five concerts in addition to all convocations, the student will fail the course.

TEN RULES OF CONCERT ETIQUETTE

1. Refrain from talking. This is the first and greatest rule. It includes whispering to performers as well as to members of the audience.

2. Refrain from unwrapping noisy candy wrappers during the performance.

3. Turn off pagers, cell phones, and watch alarms.

4. Do not wave to performers during the concert.

5. Do not take flash photography.

6. Please do not walk around with your video camera during the concert.

7. Do not leave as soon as your (or your friend’s) portion of the concert is over.

8. Applaud at appropriate times. Some music has several sections. Remember: It’s not over until all of the sections have been performed.

9. Do not leave the auditorium during the music. Wait for a break in the concert to visit the restroom unless you are ill or have a cough that will distract the other listeners.

10. Go to the concert expecting the best.

APPLIED LESSONS

Applied lessons are an integral component of the music major as they are designed to increase skill and knowledge of the performance medium.

MATERIALS: Students are responsible for obtaining any music or method books deemed necessary by the instructor. A metronome is strongly recommended, if not required by all faculty. Students may also be encouraged or required to buy other related items such as mutes, a tuner, mallets, etc. deemed necessary by individual instructors.

ATTENDANCE: Students receive no fewer than twelve private lessons each semester. Attendance is mandatory. Absences will be granted only if approved prior to the scheduled lesson time unless serious illness, injury, or personal emergency preclude such notification. Make up lessons will only be given for these circumstances once legitimate excuse is provided by the Office of Academic and Support Services. Any and all absences by the instructor will be made up.

INSTRUCTIONAL PROCEDURES: All students are expected to spend time in private practice to satisfactorily progress through assigned materials. A student enrolled in 1 credit hour of private lessons is expected and required to practice a minimum of 7 hours a week (2 credit hours/14 hours a week). Sign up sheets are posted outside all practice rooms for practice times. The faculty make note of the sign up sheets, and can also hear practicing. Lessons are devoted to performance of assigned materials and introduction of new material. Students are expected to bring their own music and ancillary materials to every lesson.

PRACTICE FACILITIES: There are several practice rooms, many with pianos on the second floor of Solano. As previously stated, sign up sheets are posted outside each room. Please turn off electronic pianos and lights, as well as close windows once you are finished practicing.

ASSESSMENT: Although lessons are inherently more subjective than most academic courses, assessment of the applied lesson is possible and necessary. Students receive a grade for each lesson. This grade is based on preparation of the assigned music, follow-through of key points discussed at previous lessons, attitude, and improvement. A general description of expectations for each letter grade is outlined below.

A = Student takes initiative in lesson, is clearly, diligently practicing and completing assignments, eagerly progressing, exhibits strong desire to learn and improve

B = Evidence of regular practice, most assignments are completed, follow-through of key points not always present, moderately progressing,

enthusiasm for learning not always present

C = Evidence of sporadic practicing, assignments are generally not complete, progress is minimal, interest in growth and improvement lacking

D = Evidence of little to no practicing, no progress in assignments, attends lessons in body only

F = Student is not present and does not contact instructor.

In addition to the weekly lesson grade, students have a midterm and final performance evaluation.

The midterm evaluation is performance on Convocation, including the Student Self-evaluation form. Students taking applied piano to complete piano proficiency as well as non-music majors may be exempt from the midterm after consulting with the applied instructor. All music faculty present for Convocation will complete an evaluation form, giving the student a letter grade based on the elements outlined on the appropriate form. All letter grades are averaged together based on the percentages listed below.

The final evaluation is performance at Juries, including the Student Self-evaluation form. All students taking applied lessons are required to participate. Music faculty listening to juries complete the evaluation form, giving the student a letter grade based on elements outlined on the appropriate form. All letter grades are averaged together based on the percentages listed below.

	Lessons	Convocation	Jury
Music Major	70%	15%	15%
Music Minor	80%	10%	10%
Neither Major/Minor	90%	Optional 5%	10% (5%)

*Rubric for performance assessment:

	Superior	Excellent	Good	Fair	Weak
Point System:	1	2	3	4	5
Grade Equivalent:	A	B	C	D	F

FURTHER EXPLANATION: Each student receives a grade (either letter or points) for each lesson. Additionally, each lesson grade is based on preparation, which includes knowing the music well, and focusing on key points discussed at previous lessons; attitude; and improvement.

MUSIC CONVOCATIONS

This is one of the many opportunities you have to gain experience as a performer. It is a chance to perform for your peers and the general public. We are not intent on putting you through a difficult experience; rather, we want you have experience in front of an audience. Most of you are choosing a career that will constantly be placing you in front of others, and we want you to be prepared. In addition, it is an opportunity for you to receive some feedback from the music faculty as it is your midterm applied lesson evaluation.

All music majors are required to perform on one convocation each semester with the exception of first-semester freshmen. Non-majors may be required to perform on convocation. Students who perform a junior or senior recital are exempt from convocation during that semester unless their applied teacher requests that they perform.

A sign will be posted regarding convocation performances. At that time you will pick up a Convocation Recital Form from the music office and complete the form with the assistance of your applied instructor. Your applied instructor must sign the completed form before you turn it back in to the music office before the posted deadline. The music faculty determine the performance order for each convocation.

At your convocation performance, all applied faculty that are present will complete Evaluation Forms based on your performance medium. Our goal is to assist with your development as a performer and musician! Music faculty listening to convocation complete the evaluation form, including written comments, giving the student a letter grade based on elements outlined on the appropriate form. Completed forms are given to your applied instructor to calculate your midterm grade. Your applied instructor will give you copies of the evaluations and discuss them with you. It is important that you keep these convocation evaluation forms as part of your portfolio.

Attendance at your convocation performance is mandatory. Absences may be granted only if approved prior to the performance unless serious illness, injury, or personal emergency preclude such notification. Arrangements for making up the performance may only be given for these circumstances once legitimate excuse is provided by the Office of Academic and Support Services. All other absences may result in a failing grade for your applied lesson midterm.

CONVOCATION RECITAL FORM

Information about works to be performed on convocation recitals must be submitted to the secretary of the Division of Fine Arts and Communication at least five days before the performance. A notice will be posted to indicate the exact date of the performance and form deadlines. Vocalists must attach English translations of any lyrics to be sung in other languages.

Please complete this form carefully, checking for correct spelling of all titles and the names of composers. Translation must be correct and idiomatic.

Each performer will be allotted no more than 10 minutes.

Date of performance:_________________ Duration of work:________ minutes

Title of work (and opus number):____________________________________

Numbers of movements, tempo markings, and/or titles (if applicable):________________

________________________________________________________________________

If the selection is taken from a larger work – e.g., opera, oratorio, suite – list the title of

the larger work:___________________________________________________________

Composer: ______________________________________________________________

First name middle name last name

Performer: ______________________________________________________________

(Please list your formal given name as it should appear in the program.)

Performing medium: ______________________________________________________

(instrument or vocal range)

Accompanist: ____________________________________________________________

(Please list the formal given name of the accompanist as it should appear in the program.)

Accompanying instrument: _________________________________________________

___________________________________

Signature of instructor

APPLIED MUSIC EXAMINATIONS

(Music Juries)

Applied music examinations, commonly known as music juries, are a final exam to assess the progress of each student taking private lessons. This is one of the many ways that you are evaluated in performance areas. It is also an opportunity for other faculty members to hear your progress, and a chance for you to gain experience as a performer. Although we attempt to make your jury as comfortable as possible, it is generally more difficult to perform your best when you are being evaluated. Be assured that we want you to succeed!

Juries are typically held during final exam week. Several music faculty members and an outside professional musician evaluate juries. Instrumental juries do not require an accompanist. Vocal and piano juries are usually performed in a recital format, similar to Convocation.

For instrumental juries, sign-up sheets are posted in the main hall a week prior to juries. Sign up for a six-minute time slot for each credit hour of lessons. Generally, a music major will have a twelve-minute jury, and a non-major will have a six-minute jury.

When you come to your jury you will need to bring a completed Applied Music Examination form. These forms are available in the music office during the last few weeks of the semester. It is important that you are very specific and thorough when completing the form. Make a copy for your music portfolio since the original will be placed in your advisor’s file.

At your jury performance, all evaluators will complete Evaluation Forms based on your performance medium. These are the same forms utilized for Convocation evaluations. Music faculty listening to your jury complete the evaluation form, including written comments, then give you a letter grade based on elements outlined on the appropriate form. Completed forms are given to your applied instructor to calculate your final exam grade. Your applied instructor will show you the evaluations and discuss them with you. The jury evaluations, along with your Applied Music Examination form are given to your academic advisor for inclusion in your student record.

Attendance at juries is mandatory. Absences may be granted only if approved prior to the performance unless serious illness, injury, or personal emergency preclude such notification. Arrangements for making up the performance may only be given for these circumstances once legitimate excuse is provided by the Office of Academic and Support Services. All other absences may result in a failing grade for your applied lesson final exam.

Applied Music: Repertoire Record for Juried Performance

Name: ____________________________________ Semester/Year: _______________

Instrument or Vocal range: _____________________ Class: ______________

(e.g., sophomore, junior)

Please circle as appropriate: 1 credit hour 2 credit hours

Music major Non-major

(Place an asterisk (*) before a selection to be performed on the jury.)

Technical studies:

Pieces complete this semester. (List title and composer, indicate memorized pieces):

Pieces begun this semester and still in progress:

Ensembles in which you currently participate:

VOCAL & INSTRUMENTAL

Student _____________________________________ Semester/year________________

I Superior: No mistakes or room for improvement

II Above Average: Little room for improvement.

III Average: Middle of the road. Some room for improvement, but the mistakes are easily correctable.

IV Below Average: Considerable room for improvement. Mistakes are evident. Some fundamental problems.

V. Weak: Major improvement necessary. Many mistakes evident. Major fundamental problems.

	Score	Comments You must provide a comment for any score of 1 or 5.
Intonation
Tone Quality
Diction/ Articulation
Posture
Breathing
Rhythm
Note Accuracy
Memorization
Interpretation/ Style
Phrasing
Dynamics
Stage Presence
Ensemble Precision
Balance/ blend

Grading Scale	A	B	C	D	F
	14-23	24-33	34-43	44-53	54-70

Overall Grade:

Adjudicator Signature:

PERCUSSION

Student _____________________________________ Semester/year________________

I Superior: No mistakes or room for improvement

II Above Average: Little room for improvement.

III Average: Middle of the road. Some room for improvement, but the mistakes are easily correctable.

IV Below Average: Considerable room for improvement. Mistakes are evident. Some fundamental problems.

V. Weak: Major improvement necessary. Many mistakes evident. Major fundamental problems.

	Score	Comments You must provide a comment for any score of 1 or 5.
Tone Quality
Rudiments/ Technique
Posture
Position
Rhythm
Note Accuracy
Memorization
Interpretation/ Style
Phrasing
Dynamics
Stage Presence
Ensemble Precision
Balance/ blend

Grading Scale	A	B	C	D	F
	14-23	24-33	34-43	44-53	54-70

Overall Grade:

Adjudicator Signature:

PIANO SOLO

Student _____________________________________ Semester/year________________

I Superior: No mistakes or room for improvement

II Above Average: Little room for improvement.

III Average: Middle of the road. Some room for improvement, but the mistakes are easily correctable.

IV Below Average: Considerable room for improvement. Mistakes are evident. Some fundamental problems.

V. Weak: Major improvement necessary. Many mistakes evident. Major fundamental problems.

	Score	Comments You must provide a comment for any score of 1 or 5.
Tone Quality
Articulation
Posture
Pedaling
Rhythm
Note Accuracy
Memorization
Interpretation/ Style
Phrasing
Dynamics
Stage Presence
Balance/ blend

Grading Scale	A	B	C	D	F
	14-23	24-33	34-43	44-53	54-70

Overall Grade:

Adjudicator Signature:

Student Self-Assessment of Individual Performance:

to be completed by the student after each convocation or jury and turned in to the applied teacher.

	Superior	Above Average	Average	Fair	Weak
Planning Stage Assessment:
I met with my applied teacher early in the semester to choose appropriate literature.
I scheduled and confirmed rehearsals and performance date with an accompanist and my applied teacher.
I filled out all the necessary paperwork by the due date.
I practiced the performance piece(s) consistently throughout the semester.
I met regularly with my applied teacher to work on the piece(s).
Senior Recital Only: I arranged for a pre-performance of the recital with appropriate faculty.
Performance Assessment
Intonation
Tone Quality
Diction/ Articulation
Posture
Breathing
Rhythm
Note Accuracy
Memorization
Interpretation/ Style
Phrasing
Dynamics
Stage Presence
Ensemble Precision
Balance/ blend

QUALIFYING EXAMS

Qualifying exams are major benchmarks of your progress as a music major. The purpose or goal of this process is to integrate all of the skills and knowledge that you receive in the music department while at QU to make you into a well-rounded, fully informed, conceptually-thinking musician, performer and/or teacher. Qualifying exams are normally administered before your junior year. You are required to retake elements of the exam that you do not pass, and must pass all components before taking 300 level music courses.

We want you to be well-prepared and fully qualified to hold a degree in music, and we want you to be aware of your standing, before you spend all of your time (and parent’s money) in a career field that may not be the best choice for you. Although this may sound foreboding and intimidating, we are also maintaining a standard of excellence in the music program at QU. Whether you continue with graduate school or join the workforce, your music degree at QU makes you equally qualified with students from any other university.

The qualifying process is actually easier than it sounds. All of the components are directly related to courses that you take as a freshman and sophomore. Keep this information available, periodically review the Check List, and you are well on your way! (A detailed description of each of the components can be found in Explanation of Requirements.)

QUALIFYING EXAM CHECK LIST

_____ Grade of “C” or better in Applied Lessons

_____ Portfolio review with applied lesson instructor each semester

_____ Listening exam identifying major works throughout music history

_____ MUS 214 Overall grade of “C” or better in Theory IV

_____ Piano proficiency exam

_____ Sight-reading

_____ Harmonization

_____ History exam identifying principal terms, styles, periods, and composers

_____ Comprehensive exam encompassing Sight-Singing, Ear Training and Theory.

Specific elements are listed below.

Write a 4-part vocal or instrumental arrangement of a folksong or hymn tune

Write a four-part harmonization of a figured bass

Analyze a short piece of music

Sight-sing two melodies, in bass clef and treble clef

Rhythmic, melodic, and harmonic dictation

_____ Qualifying exam on performance medium

_____ Sight-reading

_____ Play one short work with one week lead time

Additional elements as determined by applied teacher

_____

_____

_____

_____ Evaluation by applied lesson instructor listing strengths/weaknesses, and goals for the future

Papers and other assignments related to each specific major will be assigned in applied lessons throughout the student’s Junior and Senior years. These assignments combine all aspects of music (theory, history, performance), and ultimately guide the student in the Senior Paper.

QUALIFYING EXAMS

EXPLANATION OF REQUIREMENTS

Repertoire list of solos and technical studies from all Applied Lessons

The sheet that the student completes for Applied Music Examinations is an acceptable fulfillment of this requirement. However, the student must make a personal copy since the original is required at juries, and eventually becomes part of the student’s official file kept by the advisor. The student includes this in the Portfolio.

Ensemble performances, including repertoire list

Saving programs from ensemble performances is acceptable. However, the repertoire list should also include pieces that are sight-read and/or rehearsed, yet not performed. This is included in the Portfolio.

History and Listening exams

These exams are scheduled at the end of each semester and may be completed at any time before the end of the student’s sophomore year. It is recommended that the student take the exams in the same semester as MUS 117 Exploring Music. The list of required works to be covered on the listening exam is located on p. 37. A copy of the acronym that contains key elements of music is also included (p. 38) to assist in your listening and musical discussions. The study guide for the history exam is located on p. 39.

Piano Proficiency exam

Students who indicate proficiency on the piano will audition for Leonora to determine if the student must take piano lessons or be allowed to prepare for the proficiency independently. If a student prepares individually, that student must take the piano proficiency exam at the end of the first semester following this decision. All students should take the exam in the earliest semester possible, and are required to pass the exam as an element of the Qualifying Exam process. The piano proficiency exam is scheduled during the last week of classes. Students will play sight-reading and a simple harmonization in front of the assembled music faculty. Additional elements of the exam are addressed privately with Leonora.

Comprehensive exam

This exam covers sight-singing, ear training (dictation), and theory. It is a culmination of four semesters of music theory and is scheduled during the final exam week.

Qualifying exam on applied instrument

This exam includes sight-reading, the preparation of a piece with one week lead time, and additional elements determined by the applied teacher. Instead of a standard jury, students completing their sophomore year will perform the exam during the last week of classes for the entire music faculty.

PIANO PROFICIENCY EXAM

1. All major and minor scales, hand separately, two octaves up and down

2. One solo piece, such as:

a) Sonatina Op. 39/1 by Frank Lynes

b) “Shepher Playing…” by V. Rebikoff

c) St. Louis Blues, arr. Haydon

3. Chord Progressions

a) I – IV – I6$ _ V7 – I (four voices) in all keys

b) I – vi – IV – ii – I666$ – V7 – I in several keys

4. Folksong harmonization

5. Transposition

a) one step up

b) one step down

c) harmonies with occasional secondary dominants

6. Two simple accompaniments

7. Three patriotic songs (handed out before exam)

8. Sight reading

9. Warming up the choir (vocal majors only)

COMPREHENSIVE EXPERIENCE

STUDENT RECITALS

Special Recital

In consultation with the applied instructor, students may perform a special recital. Typically, a special recital is for music education majors who desire to perform a junior year recital. In rare circumstances a sophomore may be approved to perform a special recital. All procedures for junior recitals apply.

Junior Recital

B. A. students are required to perform a junior recital. The student must determine an acceptable date with the applied instructor and accompanist at least one semester prior to the desired performance date. Once the date is approved and on the music program calendar, the student’s primary responsibility is to practice, practice, practice!

When scheduling recital dates, it is important to note the following. Recitals are not permitted less than three weeks before the end of the semester. No recitals will be scheduled during the summer. Recitals will not be given during a semester when the student is doing student teaching. You should also take into account vacation periods and holidays. North Campus may not be available for practice or rehearsal for recitals given immediately after a vacation period.

Three or more weeks before the scheduled recital date the student must complete a Student Recital Scheduling Form, gaining approval from all faculty to proceed with the performance. If any faculty require a pre-performance jury, this is done no later than two weeks prior to the scheduled recital performance.

Failure to present the Student Recital Scheduling Form, make the necessary arrangements for a requested pre-performance jury or meet the approval of all faculty in the pre-performance jury results in cancellation or postponement of the recital.

As soon as the recital is approved in full, the student is responsible for submitting a draft of the recital program to the applied faculty member for proofreading and approval. The student is then responsible for printing their program and providing ten additional copies to the music program for archiving.

SENIOR RECITAL AND PAPER

The senior recital and paper are the culmination of four years of work toward understanding all aspects of music. To achieve truly comprehensive performances, the performer needs to draw from every facet of the composer and his work. With this in mind, the paper considers the following elements in the works performed in the senior recital.

I. Introduction – State the objectives of the paper. What pieces will be discussed?

II. Musicology/History

• What is the background of each composer (personal life, within the period)? How is this work representative of the composer’s output? How is it representative of the period? Are there aspects that make it particularly typical/atypical?
• Choose a single composer to discuss at length. Answer the above questions, and include a more thorough biographical section.

III. Theory/Analysis (Both analyses may be on the same piece)

• Do a structural/formal analysis of one piece. How is this representative of the form? How does it depart form it?
• Do a harmonic/chordal analysis of one piece. Are there any unusual elements?

IV. Performance Practice

• Present a detailed approach to one work from the point of view of the performer. What is difficult? How do you cope with it? Are there exercises which can help a performer deal with these difficulties? This is primarily a technical element of the paper. For a Baroque piece, write ornamentations, cadenzas, etc. Reference to recordings may be helpful for this section.

V. Text and Music

• For one work (or several by a single composer), explore the relationship between music and text. How do they fit together? Where was the composer less successful? Who is the poet? Give some background on him/her and the poetry itself in its historical/stylistic context.
• If there is a programmatic work in instrumental programs, discuss the programmatic elements, including discussion of the non-musical source.

VI. Conclusions – Restate the main ideas of the paper. Summarize the pieces.

To clarify: In consultation with Dr. Bohn and your applied teacher, you will choose one composer for a detailed historical discussion. You will choose a different composer (or composers) for a thorough theoretical analysis. A third composer will be used to discuss performance practice, and a fourth for text and music. For instrumentalists, the section on text and music may not be necessary or may be on a work already used for one of the other sections. All remaining composers will be discussed in the historical section (see first bullet under II).

SENIOR RECITAL AND PAPER CHECKLIST

I. Initial Planning Stages (more than one full semester before the recital – 15 weeks)

A. Choose recital repertoire

At least 45 minutes of music

Chosen in conjunction with applied teacher

Submit list of repertoire to Dr. Bohn

B. Decide on paper content

Confer with the applied teacher and Dr. Bohn

Cover the required 3 or 4 areas

Submit decision on composers and paper elements to Dr. Bohn

C. Decide recital date

Confirm availability of accompanist, applied teacher and venue

Petition Division Chair for inclusion on music faculty agenda

Receive faculty approval

Reserve date with music secretary

Finalize confirmation of date with ALL parties

II. Bibliography Listing (10 weeks before recital date)

Include inter-library loans, recordings, journal articles, special purchases, etc.

Submit thorough and accurate citations to Dr. Bohn

III. Outline of paper (8 weeks before recital date)

Include updated bibliography (if changes), completed introduction

Submit to Dr. Bohn

IV. Rough Draft (6 weeks before recital date)

This is for initial consideration and may require thorough reworking.

Submit to Dr. Bohn and schedule meeting for discussion within a week.

The recital may be postponed at this point.

V. Final Draft (3 weeks before recital date)

Submit to Dr. Bohn, minor re-writes may be necessary.

If re-writes are extensive, the recital may be postponed.

VI. Complete all necessary paperwork (3 weeks before recital date)

Submit form giving faculty authorization of recital to Dr. Bohn

Submit recital publicity form to publicity office.

VII. Give a pre-performance of the recital (if necessitated by faculty authorization form) (2 weeks before recital date)

VIII. RECITAL PERFORMANCE – Have Fun!!

Recital Preparation Forms

Recital Set-Up Request

Requests must be submitted to the program secretary at least two weeks prior to the performance.

Today’s date ________ Circle one: Junior Recital Senior Recital Other: __________

Name of performer/Ensemble: ______________________________________________

Performance information: __________________________________________________

(date) (time) (place)

Instructor’s signature: _________________________________________

(required)

Student Recital Scheduling

The recital by ___________________________________scheduled for ______________ should be played for members of the faculty no later than two weeks prior to the scheduled performance.

This form must be presented to each faculty member for his or her signature at least three weeks before the scheduled recital date.

Signatures of faculty members

________Yes ________No _________________________________________________

________Yes ________No _________________________________________________

________Yes ________No _________________________________________________

________Yes ________No _________________________________________________

________Yes ________No _________________________________________________

PORTFOLIO REQUIREMENTS

The portfolio process is a requirement that continues throughout the student’s Junior and Senior years. This is an easy way to have a record of all performances, repertoire lists for ensembles and applied lessons, evaluation sheets, etc.

Portfolio checklist

_______ Programs from all convocations

_____ Freshman Fall semester (optional) _____ Freshman Spring semester

_____ Sophomore Fall _____ Sophomore Spring

_____ Junior Fall _____ Junior Spring

_____ Senior Fall _____ Senior Spring (B.A. only)

_______ Programs from all concerts

_______ Program for Junior Recital (B.A. only)

_______ Program for Senior Recital

_______ Repertoire sheets from all semesters

_____ Freshman Fall semester _____ Freshman Spring semester

_____ Sophomore Fall _____ Sophomore Spring

_____ Junior Fall _____ Junior Spring

_____ Senior Fall _____ Senior Spring (B.A. only)

_______ Convocation evaluation forms from all semesters

_____ Freshman Fall semester (optional) _____ Freshman Spring semester

_____ Sophomore Fall _____ Sophomore Spring

_____ Junior Fall _____ Junior Spring

_____ Senior Fall _____ Senior Spring (B.A. only)

_______ Jury evaluation forms from all semesters

_____ Freshman Fall semester _____ Freshman Spring semester

_____ Sophomore Fall _____ Sophomore Spring

_____ Junior Fall _____ Junior Spring

_____ Senior Fall _____ Senior Spring (B.A. only)

_______ Jury Self-evaluation forms from all semesters

_____ Freshman Fall semester _____ Freshman Spring semester

_____ Sophomore Fall _____ Sophomore Spring

_____ Junior Fall _____ Junior Spring

_____ Senior Fall _____ Senior Spring (B.A. only)

_______ Senior Recital Paper

Music Education Majors must also include:

_______ Secondary instrument performance evaluations

_____ Brass _____ Woodwinds _____ Percussion _____ Strings

_______ Philosophy of Education/ Music Education

_______ Various papers/ assignments from music education courses

*such as: sample music budget, advocacy statements, sample drill, etc

_______ Other

QUINCY UNIVERSITY NORTH CAMPUS

RECORDING STUDIO AGREEMENT

I, __________________________________, agree to the following conditions for the use of the Recording Studio and all equipment accessed in order to produce or reproduce any recordings from and/or onto any format (i.e., CDs, DVDs, cassette tapes, MIDI files, DAT tapes, etc.):

For Quincy University Music Students and Faculty:

1. The studio may be used in courses for required projects and by permission from Mr. Steve Parke.

2. Audio Engineers working for the Music Program may access the studio ONLY for the purposes of their employment. Recording assignments may include “field” recordings where equipment shall be removed from then returned to the studio. The Audio Engineers MAY NOT loan the use of the studio to anyone without the consent of Mr. Parke.

3. Music faculty members have free and complete access to the studio in accordance with the sign-up schedule posted on the studio door. The music faculty members are advised to consult with Mr. Parke for assistance in designing any recording project.

4. Music students and faculty may have Quincy University Music Program performances selected and recorded onto one CD or DVD for a $15.00 fee. Additional copies are $5.00 each. Students and faculty must provide the recordable media. The producer shall receive $10.00 per hour as payment. Any remaining money shall be applied toward the cost of replacement and repair of equipment.

5. By signing this agreement, you will assume all legal responsibilities for abiding by copyright laws and regulations. The primary use of this recording facility is for the training and experience of students. It is “not for profit.” Uses of this studio for any other reasons must be sanctioned and approved by the Music Program faculty and the Chair of the Division of Fine Arts and Communication.

For the General Public

1. The Chair of the Division of Fine Arts and Communication, in consultation with Mr. Parke, may approve contractual arrangements for the use of this studio.

2. The standard recording charge will be $25.00 per hour (recording media not included). Any additional charges for media are listed below.

3. The number of recording projects and all recording session times and dates will be determined by the music calendar availability.

4. Any and all producers, engineers and assistants for any recording session by the general public must be supervised and/or authorized by Mr. Parke.

SIGNATURES OF APPROVAL:

____________________________________ ______________________________

Steve R. Parke, Jazz Artist-in-Residence Chair, Division of Fine Arts and Communication

TRACKING SHEET:

Recording Date Begin/End Times

Artist Engineer

Track 1 Media: CrO2 cassette tape(s) @ $2 each

Track 2 blank CD-R(s) and

DVD’s @ $3 each

Track 3 DAT(s) @ $7 each

Track 4 Duplication(s)

Track 5 Reproduction(s)

Track 6 Transfer(s)

Track 7________________________ $25 p/hr ___ Total Recording Time

Track 8 TOTAL: $

Charges payable to: Quincy University Music Program

Student Agreement

I, (print name)_______________________________________________ have read and understand the expectations presented in the Handbook for Music Students. I understand that I am responsible for the information presented in this handbook. I also understand that failure to comply with the expectations of the music department could result in lowering of certain class grades, loss of grant or scholarship, and even failure to graduate.

Signature_______________________________________________________

Date ___________________________________