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MUSC - Welcome to Utah State Uni

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									Department of Music Self Study
A. Overview of Department
Mission Statement: In the context of a comprehensive land grand university, the mission of the Department of Music is to develop and maintain nationally recognized programs in Music Education, Music Performance, and Music Therapy. This is done in order to transmit the musical tradition of western civilization and other cultures to future generations, and contribute to the growth and vitality of those traditions through creative artistic activities and research, enrich the cultural and educational life of the regional community, and serve the physical and mental health needs of citizens with disabilities. Faculty & Staff: The Department employs 18 tenure-line faculty, a resident string quartet, approximately 45 part-time instructors and three full-time staff members. Each of the string quartet members teach private instruction as do the other part-time instructors. Academic Programs: The Department provides Bachelor of Music Degrees in Music Education, Performance, and Piano Pedagogy; and Bachelor of Science Degree in Music Therapy. The Department‘s more unique programs include the Music Therapy and Guitar Programs which are internationally renowned, among the largest such programs in the country, and are the only programs of their kind in the state. No graduate programs are offered. Student Enrollment: In addition to preparing approximately 320 music majors for professional careers, the largest portion of the Department‘s annual SCH production (approximately 8366) is generated in providing non-music majors with diverse general education offerings, group and individual instrumental and vocal instruction, and performance opportunities in a wide range of ensembles. Three different music minors (Basic, Elementary School Music, and Composition) are provided in order to meet specific program needs of the university student. Cultural/Educational Enrichment: The Department contributes to the cultural/educational life of the university and community by providing more than 80 musical events showcasing students, faculty, and internationally renowned artists each academic year. Such events include concerts, recitals, and festivals, as well as joint musical ventures with community-based groups such as the Cache Chamber Orchestra, Cache Children‘s Choirs, and the Northern Utah Choral Society. Other successful department/community collaborations include the Suzuki String Program and the Summer Music Clinic, both of which engage pre-university age students and enhance educational opportunities for university students. The piano program‘s Wassermann Festival has achieved an international reputation as it brings the finest piano performers and pedagogues to our campus to work with university and community students. Music faculty and students as well as guest artists are actively involved in outreach programs for individuals of all ages (i.e., preschool children through older adults in nursing homes). The USU Youth Conservatory, an outreach program of the piano area, provides piano training and early music education to over 300 Cache Valley children while providing valuable teacher training to USU piano students. The Music Therapy program provides services to individuals in a wide-range of human service programs throughout Cache Valley. The Department is also proud to contribute the Aggie Athletic Bands as service to the university.

Student Success: Measures of student success include job and graduate school placements, success on a national board certification exam, and honors received by students in competition with students from other institutions. Placement survey data consistently indicate that at least 90 percent of music major graduates either obtained employment related to their degree or are enrolled in graduate programs. One hundred percent of music education majors who pursue employment are hired. USU graduates frequently earn graduate fellowships and scholarships at some of the nations most prestigious conservatories and schools of music. Examples during the past few years include a voice student at Yale University and the Metropolitan Opera‘s Internship Program, a percussionist at the Boston Conservatory of Music, and a pianist at The Juilliard School of Music. One hundred percent of the music therapy graduates passed the National Board Certification Exams. Students from various programs within the Department consistently receive top honors in State, regional, and national competitions. USU piano students have won more MTNA national piano competitions than have students from any other music program in the nation. Challenges: Severe space constraints, recruitment and retention of faculty, need for new faculty positions.

B. Degrees
A. Undergraduate academic program (The Department does not offer graduate degrees). 1. Degrees offered Bachelor of Music Areas of Emphasis Music Education Performance Piano Pedagogy Bachelor of Science Music Therapy The following documentation for each of the above degrees is provided to demonstrate compliance with the accreditation standards of the National Association of Schools of Music (NASM).

Emphasis Areas: Choral Guitar/General Music String/Orchestra Wind/Percussion

a. Objectives The various emphasis areas will be discussed jointly, noting the differences among them in meeting NASM standards. The Bachelor of Music Degree in Music Education is intended for those wishing to prepare and certify to teach music in secondary schools. The Wind/Percussion, String, Choral, and Guitar/General Music areas of emphasis include a composite major in Music Education which certifies those who complete the program to teach choral, instrumental, and general music courses in junior high, middle schools, and high schools. Each of these areas of emphasis stresses thorough preparation in the field(s) indicated by its title, and includes to a lesser degree courses designed to certify the individual to teach in the other areas as well. Those who complete the Guitar/General Music Emphasis are certified to teach guitar and general music courses in secondary schools. Each graduate is expected to be proficient in basic musicianship, individual performance and teaching.

Students may also elect to complete Dual Certification by taking eight additional credits (PSY 1100, or FHD 1500, MUSC 3260, and 3270) which certifies the candidate to teach the same subject areas in elementary schools. b. Assessment of Compliance With NASM Standards 1) Curricular Structure. The Curricular Tables for the Bachelor of Music Degree in Music Education with its various areas of emphasis are found in Appendix IV. A summary of the compliance of these programs with NASM curricular percentages is found in the following chart.


Major Area cr/% 20/16% 20/16% 20/16% 20/15%

Supportive Music Courses cr/% 71/56% 69/55% 71/56% 78/58%

General Studies cr/% 36/28% 36/29% 36/28% 36/27%

Electives cr/% 0/0% 0/0% 0/0% 0/0%

Total Credits

Choral Guitar/Gen String/Orch Wind/Perc/Band

127 125 127 134

2) Program Content. Each Music Education major must complete core courses in basic musicianship. The Professional Education component is, for the most part, taught in a practical context. Ample opportunities are provided for observation and teaching experiences in a variety of contexts early in the program. c. Desirable Attributes, Essential Competencies, Professional Procedures. 1) Desirable Attributes The director of music education reviews music education majors and discusses their knowledge, skills and personal qualities with other faculty in ascertaining their potential as successful teachers. These considerations include the personal qualities outlined in the NASM Handbook as being desirable for those aspiring to become teachers. If necessary, students are counseled to reconsider their choice of Music Education as a major. The student's self-evaluation, and counseling by advisors and/or the department head have proved adequate in screening out those with inappropriate personal qualities.

2) Music Competencies. a) Conducting: All music majors are required to complete MUSC 3170, Conducting, and MUSC 4240, Advanced Conducting as part of the musicianship core. Those completing the Wind/Percussion emphasis are also required to complete MUSC 3220, Choral Methods and Materials; MUSC 3240, Instrumental Methods and Materials; and MUSC 3100, Motivation and Classroom Management Strategies in Secondary Classroom Music. . Music Education majors with an emphasis in Choral or Instrumental Music are required to complete MUSC 3220, Choral Methods and Materials; MUSC 3230, Choral Literature; MUSC 3240, Instrumental Methods and Materials, and MUSC 3100, Motivation and Classroom Management Strategies in Secondary Classroom Music.

Those emphasizing Guitar/General Music, because the nature of the courses they would teach in the schools requires much less conducting, are required to complete MUSC 3220, Choral Methods and Materials; MUSC 3240, Instrumental Methods and Materials; and MUSC 3100, Motivation and Classroom Management Strategies in Secondary Classroom Music. In the conducting courses mentioned above, students are taught score reading, and the integration of analysis, style, performance practices, and conducting appropriate to the specialty of the course, as recommended in the NASM Handbook. Laboratory experiences are a regular part of these conducting courses, as are video tape critiques. b) Composing and Arranging: Music Education majors in all emphasis areas are required to complete an individual composition project each semester in MUSC 3110, 3120; Music History I, II: MUSC 3140, 3150, Musical Form I, II; and MUSC 3130, Music History III/Theory IV (Twentieth Century) and are required to complete scoring and arranging projects for woodwinds, brass, percussion, and strings in various large and small combinations in MUSC 3180, Scoring and Arranging. These arrangements come from a variety of sources, including piano music, folk songs, popular songs, and march tunes. c) Performing: In addition to performance skills in the student's major performing medium, all music majors are required to complete the Piano Proficiency. MUSC 1550, 1560, Beginning and Intermediate Group Guitar, or MUSC 3550, Individual Guitar Instruction, are required for those completing the Guitar/General Music emphasis.

Instruction in fretted instruments is not required for those completing the Choral, Wind/Percussion, or String emphasis, though many students respond to encouragement and complete guitar instruction in some form. Generally, guitar instruction in secondary schools is taught by those who emphasize the Guitar areas. d) Analysis/history/literature: As part of the core curriculum, all music education majors are required to become proficient in an understanding of music history, literature and the analysis of standard master works as well as pieces for their applied instrument. Music History I and II as well as Form and Analysis I and II satisfy this requirement for early through traditional harmony, common practice music from Medieval through the Baroque eras. The history and form classes have concurrent enrollment for purposes of continuity. Music Theory/History III covers nontraditional harmonic practices and music of the 20th Century. In addition, students enrolled in applied instruction study the solo literature of their instrument which includes historical and analytical prospectives. Students enrolled in the method courses and literature classes as well as the instrument techniques courses study repertoire, analyze and critique various pieces included in the coursework at hand. e) Essential competencies and experiences for the vocal/choral or general music teaching specialization: i Performance ability on keyboard instruments sufficient to employ the piano as a teaching tool, is required in completing MUSC 1170, 1180, 2170, Keyboard Harmony I, II, III or MUSC 3400, Individual Piano Instruction, or by demonstrating adequate skill through the Piano Proficiency Examination. Similar ability on guitar is required in completing MUSC 1550, 1560, Beginning and Intermediate Group Guitar, or MUSC 3550, Individual Guitar Instruction. ii Ability to transpose and improvise accompaniments is required in completing the Piano Proficiency.

iii Sufficient vocal skill to assure effective use of the voice in demonstrations is required of those in the Choral, Instrumental Music emphasis area in completing MUSC 3670, Individual Vocal Instruction, and the jury exams, recitals, and senior recital required in connection with vocal study. In the Guitar/General Music emphasis this requirement is met by completing MUSC 1600, Voice Techniques. iv Experience in solo vocal performance is required of those in the Choral, Instrumental Music emphasis in completing the 4 required appearances on student recitals and the senior recital requirement, and is underpinned by the requirement to take Individual Voice Instruction throughout the undergraduate years. The Guitar/General Music emphasis does not require experience in solo vocal performance, since the focus of the program is elsewhere. Performance experience with wind, string, and percussion instruments is required of those in the Choral and Instrumental Music emphasis areas in completing MUSC 2700, 2710, Woodwind Techniques I, II; MUSC 2800, 2810, Brass Techniques I, II; MUSC 1500, String Techniques; and MUSC 1800, Percussion Techniques. Because of the nature of the teaching certification which results from the Guitar/General Music emphasis, which does not authorize teaching other instruments, those involved in this emphasis are required to have limited performance experience with wind, orchestral strings, or percussion instruments. vi. Laboratory experiences in accompanying are available to those in the Choral Music emphasis area through required completion of MUSC 3400, Individual Piano Instruction, or MUSC 3410, Ensemble and Accompanying f) Essential competencies and experiences for the instrumental music teaching specialization: i Knowledge of and performance ability on wind, string, and percussion instruments sufficient to teach beginning students effectively in heterogeneous or homogeneous groups is required of those in the Wind/Percussion, String, and Choral emphasis areas in completing MUSC 2700, 2710, Woodwind Techniques I, II; MUSC 2800, 2810, Brass Techniques I, II; MUSC 1500, String Techniques; and MUSC 1800, Percussion Techniques. Methods for teaching in heterogeneous and homogeneous groups are also addressed in MUSC 3240, Instrumental Methods, which is also a required course. ii Experiences in solo instrumental performance, is required of those in the Wind/Percussion, and String emphasis areas in completing the four required appearances on student recitals and the senior recital requirement, and is underpinned by the requirement to take individual instruction on the student's major instrument throughout the undergraduate training. Experience in both small and large instrumental ensembles is required in fulfilling Department policy that all majors participate in appropriate large ensembles throughout the undergraduate experience, and in completing MUSC 3700, 3780, 3800, 3850, 4500, 4550, Ensembles which involves duets, trios, quartets, etc. iii Experiences in the use of the singing voice in class or ensemble is required of those in the Wind/Percussion, and String emphasis area in completing MUSC 1600, Voice Techniques and MUSC 4600, University Chorale. Those involved in the Choral emphasis area have, obviously, a much greater involvement in choral music and individual vocal instruction.



Laboratory experience in teaching beginning instrumental students--individually, in small groups, and in larger classes is provided in several ways: Through participation in the Wind and Percussion Youth Conservatory, or the String Conservatory, where instrumental Music majors, supervised by Music faculty, instruct elementary and secondary school students in individual lessons in return for compensation. Through participation in the Apprenticeship program (3 one-credit courses) established to assist local public school music educators to the classroom and give instrumental Music Education majors experience in the classroom. University instrumental Music Education majors, supervised by cooperating teachers and Music Department faculty, work with individuals, sections, small ensembles and occasionally the large ensemble, instructing them in rehearsal situations. Through the regular student teaching experience during the senior year, which involves more conducting and managerial responsibilities. The student is supervised by the cooperating teacher and a Music Department faculty member.



3) Teaching Competencies a) An understanding of child growth and development and the identification and understanding of the principles of learning is required for all emphasis areas in completing PSY 1100, Developmental Psychology, only for students seeking dual certification in elementary music, which is strongly suggested of all music majors. Application of these understandings to music is addressed in MUSC 3220, Choral Methods; MUSC 3240, Instrumental Methods; and MUSC 3100, Motivation and Classroom Management Strategies in Secondary Classroom Music. b) An understanding of philosophical and social foundations underlying music in education and the ability to express a rationale for personal attitudes and beliefs is required for all emphasis areas in completing SECED 3210, Educational Foundations and MUSC 3100, Motivation and Classroom Management Strategies in Secondary Classroom Music.


Ability to assess aptitudes, experiential backgrounds and interests of individual and groups of students and to devise learning experiences to meet assessed needs is required in completing PSY 1100, Developmental Psychology; SECED 3210, Educational and Multicultural Foundations; and SPED 4000, Education of Exceptional Individuals. Devising learning experiences and meeting individual and group needs is also addressed in SECED 5500, Student Teaching Seminar, and Sec Ed 5600, Student Teaching, required of all Music Education students.

d) Knowledge of current methods and materials available in all fields and levels of Music Education is required of all emphasis areas in completing MUSC 3220, Choral Methods; MUSC 3240, Instrumental Methods; and/or MUSC 3100, Motivation and Classroom Management Strategies in Secondary Classroom Music, and in MUSC 3230, Choral Literature, taken by those in the Choral Music emphasis. Students who elect Dual Certification also meet this requirement in completing MUSC 3260, Elementary School Music for the classroom teacher. e) An understanding of evaluative techniques and ability to apply them in assessing both the musical progress of students and the objectives and procedures of the curriculum is required of all emphasis areas in completing SECED 4210, Cognition and Evaluation of Student Learning. It is also addressed in a specifically musical context in MUSC 3220,

Choral Methods, and MUSC 3240, Instrumental Methods, both of which are taken by all musical education students. f) An awareness of the developmental process involved in becoming a successful teacher, and a further awareness of the need for continuing study and self-evaluation is required of all emphasis areas in completing Sec Ed 3210, Educational and Multicultural Foundations, and MUSC 3100, Motivation and Classroom Management Strategies in Secondary Classroom Music.

4) Professional Procedures a) Music Education methods courses are taught by faculty who have degrees in Music Education and who have had successful experience teaching music in schools at the level for which the methods courses are intended. MUSC 3260, Elementary School Music is taught by Professor Leslie Timmons; and MUSC 3100, Motivation and Classroom Management Strategies in Secondary Classroom Music is taught by Todd Fallis. MUSC 3220, Choral Methods is taught by Cory Evans. MUSC 3240, Instrumental Methods, is taught by Thomas Rohrer. b) The Music Department and College of Education encourage and require observation experiences in actual school situations prior to formal admission to the teacher education program. In Music, this requirement is met for all emphasis areas in completing MUSC 3100, Motivation and Classroom Management Strategies in Secondary Classroom Music, which is generally taken the sophomore year. Teaching experiences prior to formal admission are provided in the Wind/Percussion and String emphasis areas and generally take the form of the opportunity to give individual lessons on the student's major instrument to elementary and secondary school students in the area under supervision of Music faculty. Laboratory experiences in school settings continue throughout the program, through apprenticeship courses which provide for micro teaching experiences one hour each week in the public schools. Each of the three apprenticeships are taken in conjunction with the method courses. All such activities are carefully supervised by qualified public school music teachers, at each school teaching site. c) In addition to evaluation in specific courses, all Music Education majors are evaluated annually by the Music faculty as a whole in faculty meeting and by each student‘s individual instruction teacher. Each student is evaluated individually regarding his status in general academic work, the music core curriculum, individual and group performance, potential as a teacher, personal qualities, and attributes such as dependability, effort and commitment to the profession. Admission is by recommendation of the Music faculty, individual instrument audition, and other requirements established by the College of Education. If the faculty determines that a student lacks essential competencies to be a good teacher, that student is counseled by the advisor of the Music Department Head, whichever is deemed appropriate, to consider changing the major. Counseling in the Department and encouraging student selfevaluation are the means used to implement the faculty evaluation. Evaluation after graduation is more informal and is based on faculty observation of the graduate's work in the classroom and rehearsal hall, and of the musical product in concerts and festivals. d) Opportunities for advanced undergraduate study is provided in such areas as conducting, composition, and analysis through the following courses: MUSC 4900 - Baroque Counterpoint MUSC 4910 - Music Composition MUSC 4370 - Recording Techniques

Students nearing graduation may also enroll in: MUSC 6110 - Advanced Conducting MUSC 6120 - Adv. Rehearse Techniques

Emphasis Areas: Piano Organ Strings Voice Wind/Percussion Guitar

OBJECTIVES The Bachelor of Music Degree in Performance is intended for those wishing to combine part-time or fulltime careers in performance and teaching. The various emphasis areas will be discussed jointly, noting the differences among them in meeting NASM standards. In the performance portion of this combination - Piano graduates are prepared for post-graduate studies leading to opportunities as soloists and accompanists. - Organ graduates are prepared to become church organists. - String, Wind, and Percussion graduates are prepared for post-graduate study leading to opportunities as soloists, members of semi-professional or professional orchestras, or studio work. - Vocalists are prepared for post-graduate studies leading to opportunities as soloists, or members of semi-professional or professional musical theatre or opera companies. - Guitar graduates are prepared to perform as soloists and as members of various jazz, pop, rock, and classical ensembles and as studio artists. In the teaching portion of this combination, graduates in all areas of emphasis are prepared to instruct individuals and groups in studios, at home, or in music businesses. They are also prepared for postgraduate study leading to opportunities for full or part-time appointments in colleges and universities. Each graduate is expected to be appropriately proficient in basic musicianship, individual performance, the literature, and stylistic specialties related to the particular emphasis area and teaching. a. Assessment of Compliance With NASM Standards A summary of the compliance of these programs with NASM curricular percentages is found in the following chart: Supportive Music Courses cr/% 43/34% 36/30% 59/45% 38/30% 55/44% 38/31%

Area Guitar Organ Piano String Vocal Wind/Perc

Major Area cr/% 37/30% 37/21% 37/28% 37/30% 37/30% 37/31%

General Studies cr/% 36/29% 33/27%* 36/27% 36/29% 33/26%* 36/30%

Electives cr/% 9/7% 14/12% 0/0% 14/11% 0/0% 10/8%

Total Credits

125 120 132 125 125 121

*Differences in organ and vocal credits due to CI courses within the emphasis areas


Specific Guidelines for General Studies. Performance majors in voice are required by the Department to take a minimum of two semesters of foreign language. This provides eight credit hours of German, Italian, and/or French. Students may alternatively meet the language requirement by demonstrating language proficiency in German, Italian, or French. Voice majors are also required to pass diction proficiency in German, Italian, French, by completing a three semester sequence in Diction (MUSC 2660, Italian Diction, MUSC 2670 German Diction, MUSC 2680, French Diction). Foreign languages are used regularly in MUSC 3670, Individual Vocal Instruction, where specific numbers of songs in each of the three major foreign languages are required to complete the Voice Student Repertoire Checklist. Foreign languages are also used in completing the requirement to participate regularly in vocal performance groups.


Essential Competencies, Experiences, and Opportunities. 1) Achievement of the highest possible level of performance is required in completing the full course of jury examinations, and the senior recital, and is monitored in the granting of grades for Individual Instruction courses and MUSC 4920, Individual Recital. Vocal performance students must pass a Sophomore Barrier Jury at the end of their third semester of study. Performance majors are strongly encouraged to do a junior recital of not less than 30 minutes in length. (Since 1996, all voice performance majors have given junior recitals.) String performance students are assessed after their first full year of study and goals are set in keeping with the required level for graduation. Performance majors are strongly encouraged to do a junior recital.


Performance requirements are stipulated as levels by each emphasis area. These levels are provided in Appendix F. Study in the major performing medium is required throughout the entire degree program. Performance majors also have opportunities to perform for and receive instruction from visiting artists of national and international repute. A list of recent visiting artists who have given masterclasses is available in II.E, Performance. 2) Knowledge of the literature appropriate to the major performing area is required in completing courses appropriate to emphasis area, as follows: Piano MUSC 2420, 2430, Piano Literature I, II MUSC 2440, 2450, Piano Literature III, IV MUSC 1460, 1470, Organ Literature I, II MUSC 3460, 3470, Church Music for Organists I, II MUSC 3520 String Pedagogy and Solo Literature Required in connection with Individual Instruction, 8 credits MUSC 3610, 3620, Vocal Repertory I, II Required in connection with Individual Instruction, 12 credits Required in connection with Individual Instruction, 12 credits



Voice Wind Percussion


MUSC 3560, Guitar History & Literature MUSC 2550, Guitar Styles (Blues/Bluegrass) MUSC 2560, Guitar Styles (Jazz/Classical) MUSC 3020, History of Jazz

3) Knowledge of pedagogical techniques appropriate to the major performing area is required in completing courses appropriate to the emphasis area, as follows: Piano MUSC 1430, 1440, Piano Pedagogy I, II MUSC 4410, 4420, Advanced Piano Pedagogy I, II MUSC 1430, 1440, Piano Pedagogy I, II MUSC 3520, String Pedagogy and Solo Literature MUSC 3630, 3640, Vocal Pedagogy I, II MUSC 2700, 2710, Woodwind Techniques I, II MUSC 2800, 2810, Brass Techniques I, II MUSC 2740, Recorder Techniques MUSC 3570, 3580, Guitar Pedagogy I, II

Organ Strings Voice Wind Percussion


Opportunities to apply pedagogical knowledge in teaching situations in the piano emphasis area is required in completing MUSC 1420, Pedagogy Practicum, which involves teaching individual lessons as well as classes in Music Theory, History, Ear Training, Form and Analysis, and Creative Listening in the Piano Youth Conservatory to elementary and secondary school age students. In the string and wind/percussion emphasis areas opportunities are provided through supervised teaching of individual lessons through String and Wind/Percussion Conservatories to elementary and secondary school age students. In the voice emphasis area, students enrolled in MUSC 3640, Vocal Pedagogy II, are required to teach individual lessons as part of the practicum component of this course. Additional opportunities are provided through supervised teaching of individual lessons, arranged directly by the Music faculty in charge, to elementary and secondary school age students, and occasionally to general university students. In the organ and guitar emphasis areas, opportunities are provided through supervised teaching of individual lessons, arranged directly by the Music faculty in charge, to elementary and secondary school age students, and occasionally to general university students. 4) Solo and ensemble performance experience in a formal sense is required in completing courses in the following list: Piano MUSC 3410, Ensemble and Accompanying MUSC 3400, Individual Piano Instruction MUSC 4920, Individual Recital MUSC 3400, Individual Piano Instruction MUSC 3480, Individual Organ Instruction MUSC 4920, Individual Recital MUSC 4520, 4510, 4530, 4540, Individual Viola, Violin, Cello, String Bass Instruction



MUSC 3700, 3800, 3850, 4500, 4550, Woodwind, Flute, Trombone, Brass, String, Acoustic Guitar Ensemble MUSC 3500, Symphony Orchestra MUSC 4920, Individual Recital Voice MUSC 4650, Chamber Singers MUSC 4600, University Chorale MUSC 3600, Opera Workshop MUSC 3640, Individual Vocal Instruction MUSC 4920, Individual Recital MUSC 3710, 3720, 3730, 3740, 3750, Individual Flute, Oboe, Clarinet, Bassoon, Percussion, Saxophone Instruction MUSC 2720, 3790, Symphonic and Marching Band MUSC 2730, Basketball Band MUSC 3760, 3770, Jazz Ensemble, Jazz Orchestra MUSC 3700, 3800, 3850, 4500, 4550, Woodwind, Flute, Trombone, Brass, String, Acoustic Guitar Ensemble MUSC 4920, Individual Recital MUSC 4550, Acoustic Guitar Ensemble MUSC 3550, Individual Guitar Instruction MUSC 4920, Individual Recital



Participation in ensembles is required of all music majors throughout the duration of study for the degree. Participation in Music Department recitals each semester is encouraged, and four such performances and a senior recital are required of all who complete the program. Voice performance majors are encouraged to perform regularly on the Voice Recital Hour. One performance per year is required. Performances on the Voice Recital Hour and in Studio Masterclasses are monitored in the grading of MUSC 3670, Individual Vocal Instruction. Piano performance majors are encourages to perform regularly in weekly Studio classes. Performances in group classes are monitored in the grading of MUSC 3400, Individual Piano Instruction. Other performance areas offer formal and informal Studio masterclasses. Opportunities for informal solo and ensemble performance abound, ranging from dinner music, to informal chamber music evenings, to jazz sessions, to student pop/rock/jazz groups which perform for dances and in eating and drinking establishments, to student and community talent shows, to church choirs and other religious music-making. 5) Opportunities for Independent Study are provided in preparing for Department and Senior recitals, and are available through MUSC 4930, Readings and Conference, as part of the student's elective program. Students have elected such projects as preparing a performance of Stravinsky's L'histoire du Soldat with a faculty/student group assembled on the initiative of the student; doing additional, in-depth study of a particular body of music literature; arranging or adapting music for specific needs of a performing group, etc.

6) Opportunities for advanced undergraduate study in theoretical and historical areas are available through the following course offerings: MUSC 4900, Baroque Counterpoint MUSC 4910, Music Composition

Students nearing graduation may also enroll in: Music 6110, Advanced Conducting Music 6120, Advanced Rehearse Technique

a. Objective This degree is intended for those who are interested in teaching at all levels. Emphasis is placed on the development of performance skills, knowledge of literature and methods, and practice teaching, both in classroom and in individual instruction. Unique aspects of this program allow students to succeed without requiring solo performance at the highest level. While performance skills are encouraged, it is recognized that many aspects are involved in becoming an effective teacher. Teaching is a field in which one can succeed at various levels - independently or at institutions of higher learning. One may become a very competent teacher to elementary students in a much shorter time than it would take to reach the stature of a professional performer. In learning about processes and psychology of teaching, a person expands their own perspectives and becomes a better musician as well as a more effective contributor in society. Students who complete this program are prepared to teach in private studios or conservatory settings offering their students well-rounded piano studies including private and group lessons, serve as professional accompanists and adjudicators, or proceed to graduate studies in the same field. The results of the program meet the stated objectives. Aside from graded class work, student progress is evaluated each semester through numerous ways, which include: performance juries, state and national competitions, teaching observations and private student recitals. Areas of competency and evaluation as they pertain to program objectives are outlined below. b. Compliance with NASM Standards 1) The curricular structure fits NASM standards for the degree by percentages in each designated area. Supportive Studies cr/% 33/26% General Electives cr/% 2/1% 128 Total Credits

Major Area cr/% 37/29%

Music Courses cr/% 56/44%


Essential Competencies, Experiences, and Opportunities. 1) Achievement of the highest level of performance is monitored through juries which are required at least twice a year (3 times for all scholarship students). A senior recital is required as well as individual instruction which must be taken throughout the entire degree program. 2) Knowledge of the literature is covered in 4 semesters of Piano Literature. Special emphasis on pedagogical literature is made in Pedagogy 1430, 1440, and Advanced Pedagogy 4410 and 4420. In Piano Ensemble 3410, 1/2 hour of sight- reading daily is required. Large segments of the solo keyboard repertoire, as well as ensemble music, concerti, and pedagogical material are used for this class. 3) Solo and ensemble experience is covered in MUSC 3410, Ensemble and Accompanying and MUSC 3400, Individual Piano Instruction. A minimum of 3 performances in public recitals during the year and a senior recital are required. Music major student recitals are held

every other week through the year, and the USU Youth Conservatory holds at least 2 nightly recitals each month in which pre- college students or their University student teachers can perform. 4) Knowledge of pedagogical methods and opportunities to observe and apply them are covered in Piano Pedagogy 1430, 1440; Advanced Pedagogy 4410, 4420; and Pedagogy Practicum 1420. 5) Understanding human growth and principles of learning as they relate to Music teaching and performance are topics covered in Pedagogy 1430, 1440; Advanced Pedagogy 4410, 4420; and Pedagogy Practicum 1420. Special analysis of teaching methods and psychology are dealt with in the Practicum class. Lessons are often videotaped or evaluated by observers alerted to watch for the psychological effectiveness of what is happening at the lesson. 6) Piano Ensemble 1420; and Advanced Pedagogy 4410, 4420 are both structured to provide special programs of study for the individual needs of the student. For example, the piano ensemble class stresses sight-reading for those who are especially deficient in that area. The literature selected for study is based on the interests and background of individual students. 7) Opportunities for teaching in an organized internship program are provided by the USU Youth Conservatory. Two semesters of supervised observation, practice private teaching, and classroom teaching is required.

a. Objectives The Bachelor of Science Degrees in Music Therapy are intended for those wishing to prepare for a career as a Board Certified Music Therapist (MT-BC). Music Therapists provide therapeutic and educational services to people of all ages who have behavioral, emotional, learning or physical disorders (i.e., persons with psychiatric disabilities, development disabilities, hearing impaired, speech impaired, physically disabled, etc.). Music therapists are generally employed in public and private schools, mental health centers, nursing homes, hospitals, and other treatment centers with special services. Students who successfully complete four years of coursework and a six-month internship will have met all requirements of the American Music Therapy Association. AMTA has adopted a competency-based approach to learning. Competencies of the Music Therapist are acquired through academic studies with emphases in Music Therapy, Music, Music Education, and the Biological, Behavioral, and Social Sciences.

b. Assessment of Compliance with NASM Standards 1) Curricular Structure The curricular tables for the Bachelor of Science and Bachelor of Arts Degree in Music Therapy are found in Appendix IV. A summary of the compliance of these programs with NASM curricular percentages is found in the following chart. Supportive Music Courses cr/% General Studies cr/% Total Credits

Major Area cr/%

Electives cr/%






2) University/General Education Requirements In addition to the University Studies/General Education Requirements required of all university students, music therapy majors are also required to complete 20 credits in behavioral, health, and natural sciences. Some of these requirements also fulfill the University Studies requirements--such as PSY 1010, General Psychology and PSY 3210, Abnormal Psychology. These behavior health and natural science requirements are addressed later in this report. 3) Essential Competencies, Experiences, and Opportunities Advanced Keyboard Skills and Sight-Playing, Accompanying, Transposition, Improvisation, and Aural Dictation All Music Therapy majors are required to complete 3-6 credits of piano instruction (MUSC 1170, 1180, 2170, Keyboard Harmony I, II, III, and pass the piano proficiency exam. Sightplaying, accompanying, and transposition are included in these courses. Keyboard improvisation and accompanying skills are also addressed in core Music Therapy courses (MUSC 1320, Music Therapy Ensemble; MUSC 2320, Music Therapy Methods and Materials; MUSC 2490, Piano Instruction, Music Therapy Emphasis; MUSC 3300, Music Therapy Practicum; and MUSC 4330, Clinical and Professional Issues in Music Therapy). Individual feedback is provided to students within these Music Therapy courses regarding their applied keyboard skills and whether or not additional piano study is indicated. Aural dictation skills are developed and evaluated in music skills classes (MUSC 1130, Aural Skills I; and MUSC 1140, Aural Skills II). As it is essential that music therapy students achieve levels of performance on piano and guitar that are necessary for the implementation of music therapy procedures in clinical settings, additional functional music skills requirements have been established. These requirements are competency-based and are designed to meet the needs of music therapy students with diverse musical backgrounds. The following are the Functional Music Skills Requirements as delineated in the Music Therapy Degree Program addendum to the Music Department Handbook: 4) Functional Music Skills Requirements (Piano and Guitar) for Music Therapy Majors a) Requirements for Music Therapy Students Whose Primary Performance Areas are Either Voice or Band/Orchestral Instruments The student must select either piano or guitar as his/her instrument of emphasis for therapy. This decision must be made through consultation with the Director of Music Therapy. i Guitar Emphasis: Students selecting an emphasis in guitar must complete 3-4 hours of guitar instruction including one hour above the advanced group guitar level. The piano requirement for students with a guitar emphasis shall remain the same (i.e., 3-6 hours as necessary to pass the proficiency exam). It is also recommended that students take MUSC 2490, Individual Piano, Second Instrument, to meet basic competencies in piano. Piano Emphasis: Students selecting an emphasis in piano must complete 3-4 hours of piano instruction including 3 hours of individual instruction after passing the piano proficiency exam.


The guitar requirement for students with a piano emphasis shall be 2-3 hours. One hour must be at or above the advanced group level. b) Requirements for Music Therapy Students Whose Primary Performance Areas are Either Piano or Guitar The student must complete 4 hours of individual instruction in his/her primary performance area and successfully perform 2 juries. i Piano Emphasis: The student whose primary instrument is piano shall complete 2-3 hours of guitar instruction. One hour must be at or above the advanced group level. Guitar Emphasis: The student whose primary instrument is guitar shall complete 3-6 hours of piano as necessary to pass the piano proficiency examination. It is recommended that students also take MUSC 2490, Individual Piano, Second Instrument to meet basic competencies in piano.



Approved Reductions in Piano and Guitar Credits The purpose for these requirements is to ensure that Music Therapy students achieve a level of performance on both guitar or piano that is adequate for the implementation of Music Therapy procedures in clinical settings. If a student has had considerable experience with one or both of these instruments, the number of hours required may be reduced with the approval of both the Director of Music Therapy and faculty member from the appropriate instrumental area (i.e., piano or guitar). The requirement of 4 hours of individual instruction in the student's primary performance area may not be reduced. A reduction in piano or guitar hours must comply with the following criteria: i Guitar Emphasis: The student must demonstrate performance skills equivalent to 1 credit hour of instruction beyond the advanced class level for graduation. Regardless of the student's performance level, at least 1 hour of credit beyond the advanced class level must be completed to verify the student's level of competency. The jury requirement may not be waived. Piano Emphasis: The student must demonstrate performance skills equivalent to 3 hours of instruction beyond the piano proficiency barrier level. Regardless of the student's performance level, at least 1 hour of private instruction beyond the successful completion of the proficiency examination is required for students with reduced hours (i.e.,<3) in piano. The jury requirement may not be waived.


Competencies in Piano, Voice, and Guitar are also evaluated via the Functional Skills Proficiency Examinations (Levels 1 and 2) given at the end of the sophomore and senior years. Criteria for these examinations may be found in the Music Therapy Addendum to the Music Department Student Handbook, 2000-2001, p. 12-13. d) Skills in Vocal Pedagogy, Especially as Related to Group Instruction. All Music Therapy majors are required to complete 2 credits of group and/or individual voice (MUSC 1600, Voice Techniques; MUSC 3640, Individual Vocal Instruction). Students whose primary instrument is voice are encouraged to continue applied lessons, to participate in vocal ensembles, and to complete jury requirements in voice. Vocal improvisational methods are included in MUSC 2320, Methods and Materials, and the ability to lead small vocal ensembles is evaluated in a variety of clinical settings as part of MUSC 3300, Music Therapy Practicum.


Knowledge of and Performance Ability on Percussion Instruments Sufficient to Provide Effective Musical Experience for Individuals or Groups. Opportunities for the study of wind and string instruments are also recommended. (Revision proposed by the AMTA Education Committee for the description of the Baccalaureate Degree in Music Therapy regarding essential competencies on winds and strings was approved at the 1999 annual meeting of NASM). MUSC 1800, Percussion Techniques (1 credit) is required for all music therapy majors. Group percussion strategies are also included in MUSC 2320, MT Methods and Materials. Students form and perform in percussion ensembles as a part of MUSC 1320, Music Therapy Ensemble. Orff strategies are taught in MUSC 3260, Elementary School Music. Music Therapy students are also required to complete MUSC 2740, Recorder Techniques (1 credit). Methods for teaching recorder are addressed in MUSC 2740. Music Therapy majors have the opportunity to complete electives in MUSC 2700, 2710, Woodwind Techniques I, II (1 credit each); MUSC 2800, 2810, Brass Techniques I, II (1 credit each); MUSC 1500, 1510, String Techniques I, II (1 credit each). Students whose primary instruments are strings, brass, or woodwinds are encouraged to continue applied lessons , to participate in corresponding ensembles, and to complete jury requirements in their chosen instruments.


Conducting and Arranging Skills - Vocal, Instrumental, and in Combination - Adequate to the Therapist's Needs in Providing Repertory and Leadership to Small Instrumental/Vocal Ensembles. Conducting skills are developed in Music and Music Therapy courses. Music Therapy majors are required to complete MUSC 3170, Conducting (2 credits). In addition, special conducting techniques appropriate for working with individuals with a variety of handicapping conditions (i.e., mentally retarded, physically handicapped, hearing impaired, etc.) are addressed in MUSC 2320, Music Therapy Methods and Materials. The student's ability to conduct small instrumental/vocal ensembles in Music Therapy clinical settings is developed in MUSC 1320, Music Therapy Ensemble; MUSC 2320, Music Therapy Methods and Materials, MUSC 3300, Music Therapy Practicum and MUSC 4310, Music Therapy with Adults; and, MUSC 4330, Clinical and Professional Issues in Music Therapy. Arranging skills are also developed in Music and Music Therapy courses. Arranging skills are addressed within the composition components of the Musicianship courses (3110, 3120, Music History I, II; and MUSC 3140, Musical Form I). In addition, Music Therapy majors learn to arrange instrumental and vocal pieces using a variety of traditional and nontraditional instruments in MUSC 1320, Music Therapy Ensemble and MUSC 2320, Music Therapy Methods and Materials. These arrangements are designed to meet the needs of a variety of clients.

g) Recreational Music Skills Emphasizing Performance on Fretted and Informal Instruments. Music Therapy majors are required to complete 2 to 4 credits of group or individual guitar instruction (MUSC 1550, 1560, Beginning and Intermediate Group Guitar or MUSC 3550, Individual Guitar Instruction). Students‘ requirements are competency-based. These requirements were delineated under Section "A" of this report.

Music Therapy majors acquire skill emphasizing performance on informal instruments in MUSC 1320, Music Therapy Ensemble, MUSC 2320, Music Therapy Methods and Materials (2 credits) and MUSC 3260, Elementary School Music (3 credits). Music Therapy students are required to complete all of these courses. Informal instruments addressed within these courses include autoharp, Omnichord, adapted guitar, Orff instruments, ethnic percussion and rhythm instruments, handbells, and recorders.

h) Familiarity With Other Arts Therapies. Basic readings and experiential learning relevant to art therapy, dance therapy, poetry, and drama therapy are addressed in MUSC 4310, Music Therapy with Adults, and MUSC 4330, Clinical and Professional Issues in Music Therapy. Students enrolled in MUSC 3300, Music Therapy Practicum are encouraged to use creative arts therapies approaches in their work with adult clients at CAPSA and Bear River House. i) Knowledge of the Basic Principles of Sociology and Cultural Anthropology, including Understanding of Social Conflict, Group Dynamics, and Relationship of Culture to the Development of Personality, and Studies of Family and Other Social Groups. In addition to 12 credits of required courses in the areas of behavioral/health/natural science, the music therapy major must complete eight credits of electives approved by the student‘s advisor. The student meets this objective within these electives as well as within some music therapy courses. The following courses are relevant to this NASM standard--SS 1010, Introductory Sociology; SS 3500, Social Psychology; SW 2500, Human Behavior in the Social Environment; and FHD 1500, Human Development Across the Lifespan. After completion of at least one of the above courses, students should take a course relevant to the specific population they would like to work with during their clinical internship. Such courses include SS 3750, Introduction to Study of Aging; SS 3410, Juvenile Delinquency. Other areas of specialization are addressed under the next heading of this report. Group dynamics are also addressed in music therapy courses (MUSC 4310, Music Therapy with Adults; and MUSC 4330, Clinical and Professional Issues in Music Therapy). j) Knowledge of the basic Principles of General Psychology and Abnormal Psychology, with Additional Studies Suggested in Educational, Clinical, Experimental, and Social Psychology, and the Psychology of Exceptional Children. These standards are met within three different areas of the Music Therapy curriculum, required behavioral sciences, elected behavioral sciences, and core Music Therapy courses. k) Required Behavioral Sciences. The Music Therapy major must complete PSY 1010, General Psychology; PSY 3210, Abnormal Psychology, and SPED 4000, Education of Exceptional Individuals. Elected Behavioral Sciences. As stipulated under the preceding heading ("g"), the Music Therapy major selects additional studies in the Behavioral Sciences. The following are basic and specialized courses recommended for Music Therapy majors: PSY 3510, Social Psychology; PSY 4210, Personality Theory; FHD 2500, Child Development Associate Training; FHD 3510, Infancy and Early Childhood; FHD 3520, Children in the Middle Years; FHD 3530, Adolescence. l) Music Therapy Courses. Music Therapy students receive thorough training in the theoretical constructs and applications of behavior modification and behavioral therapy in MUSC 1310, Introduction to Music Therapy; MUSC 2310, Introduction to Observation and Behavioral Methods in Music Therapy; MUSC 2320, Music Therapy Methods and Materials; MUSC 3310, Music Therapy and the Exceptional Child; MUSC 4310, Music Therapy with Adults. Other models of psychology (including humanistic, cognitive, psychodynamic, gestalt, and transpersonal) are included in MUSC 3310, 4310, and 4330. Clinical psychology is addressed in MUSC 4310, MUSC 3300, Music Therapy Practicum; and MUSC 4330, Clinical and Professional Issues in Music Therapy. Experimental and qualitative research methods are covered in MUSC 1310, Introduction to Music Therapy; and MUSC 3320, Psychology of Music I; MUSC 4320, Psychology of Music II.

m) Comprehensive Understanding of Theory and Methods of Music Therapy, the Psychology of Music, and the Influence of Music on Behavior.

Music Therapy majors are required to complete at least 28 credits of core Music Therapy courses prior to beginning their clinical internships. (Students receive an additional two credits upon completion of their clinical internship). The USU Music Therapy Program requires that students complete their clinical internships in an AMTA approved setting prior to the granting of the baccalaureate degree. All core Music Therapy courses are listed in the Curricular Tables for the Bachelor of Science and Bachelor of Arts Degree in Music Therapy found in Appendix IV. Lecture courses are designed to provide the music therapy student with extensive knowledge in the areas of theory and methods of Music Therapy, the Psychology of Music, and the Influence of Music on Behavior. The Music Therapy major must complete at least 4 field experiences (MUSC 3300, repeatable, Music Therapy Practicum) in which they apply Music Therapy methods with a variety of child and adult populations. Practicum experiences are closely linked to coursework relevant to the type of population the student is working with at a given time. (MUSC 3310, Music Therapy with the Exceptional Child; MUSC 4310, Music Therapy with Adults; and MUSC 4330, Clinical and Professional Issues in Music Therapy.) All field experience courses are closely integrated with the above lecture courses. All Music Therapy lecture courses are taught by Professor Maureen Hearns, MT-BC (Director of Music Therapy), Dr. Bruce Saperston, MT-BC. Professor Hearns and Dr. Saperston have extensive experience as practicing Music Therapists. Their combined clinical expertise spans the range of music therapy practice, from behavioral medicine and work with traumatically brain injured patients, work with exceptional children, adults with mental illness, older adults and hospice clients. Dr. Saperston, as an approved clinical training director, supervised the 6month clinical internships of over 40 students. Professor Hearns and Dr. Saperston also serve the profession in a variety of capacities. Professor Hearns serves on the Examination Committee for the Certification Board for Music Therapists, is an assembly delegate to the American Music Therapy Association and is an executive board member and the Affiliate Relations Committee Chair for the Western Region American Music Therapy Association. She is also president of the Utah Association of Music Therapists. Dr. Saperston served on the editorial board of the Journal of Music Therapy, has published clinical and research articles, and has presented his work at national and international conferences, and maintains professional relationships in Hong Kong, Japan, Great Britain and Denmark.



MAJORS (FALL SEMESTER) Undergraduate Headcount Music Music Therapy PreMusic Education Music Teaching Total Undergraduate Graduate Headcount Total Graduate

2002 107 30 143 41 321

2003 151 45 153 4 353

2004 134 36 166 7 343

2005 247 43 6 296

2006 271 52 2 325






TOTAL MAJORS Demographics Undergraduate % Full-time % Female % Minority % International Graduate % Full-time % Female % Minority % International






88.8% 71.7% 2.8% 2.2%

83.9% 72.2% 3.4% 1.4%

85.1% 70.0% 3.8% 2.0%

85.5% 68.2% 2.4% 3.0%

85.5% 68.9% 3.4% 2.5%

STUDENT CREDIT HOURS (FALL SEMESTER) Remedial 1000 2000 3000 4000 5000 6000 7000 TOTAL STUDENT CREDIT HOURS DEGREES (ACADEMIC YEAR) Certificate Associate Bachelor Post Bachelor Masters Post Masters (Specialist) Doctoral TOTAL DEGREES FIRST-YEAR RETENTION RATE (FALL COHORT)






3810 873 1390 340 6 6419 2001-02

2975 924 1595 363

3164 936 1784 401

1208 711 1881 380 3

5857 2002-03

6285 2003-04

4183 2004-05 2005-06






39 2000 76.6% 1995 32.0% 2002 25 28.0% 8.0%

41 2001 72.6% 1996 47.6% 2003 25 28.0% 8.0%

31 2002 80.9% 1997 46.3% 2004 25 28.0% 8.0%

36 2003 79.4% 1998 47.2% 2005 25 28.0% 8.0%

33 2004 62.3% 1999 47.1% 2006


FULL-TIME FACULTY Headcount Demographics % Female % Minority

Rank Professor Associate Professor Assistant Professor Instructor Lecturer Other PERCENT OF FACULTY WITH TERMINAL DEGREES* * Analysis based on full-time instructional faculty. 3 Analysis and Assessment

2002 6 8 5 1 5

2003 6 7 6 2 4

2004 6 6 6 3 4

2005 7 7 6 1 4


2002 56.0%

2003 52.0%

2004 52.0%

2005 56.0%


Music Education Results of the Program and Means for Evaluating Results The Bachelor of Music Degree in Music Education is intended to prepare qualified instrumental and vocal teachers for service in secondary schools, and, with the Dual Certification option, also in elementary schools. It is expected that each graduate will become proficient in musicianship, individual performance, and teaching skills. Proficiency in basic musicianship is evaluated through grades in individual courses. Individual performance is evaluated through grades in individual courses, through jury examinations, and through the Senior Recital. Proficiency in teaching is evaluated through grades in individual courses, through faculty observations of a student's teaching activities in individual lessons, section rehearsals, and large group rehearsals, micro teaching in the public schools through apprenticeship course, culminating in the student teaching experience during the senior year. These evaluations indicate that before graduation, Music Education majors meet proficiency requirements in each area. Most students pass these evaluations the first time. About 10% of those ultimately graduating repeat one or more parts of the evaluation process. Others make voluntary changes in their educational and career plans when they encounter difficulty in the evaluation process. Broader evaluation of the results of the program are included in the following observations: a) The Utah State Office of Education evaluation team accreditation of the USU Music Department teacher education program leading to the Bachelor of Music Degree in Music Education, fully meets state requirements and expectations.

b) NCATE Accreditation every five years. c) All Music Education graduates who seek employment find positions in secondary or elementary school settings. Among them are directors of some of the finest urban and rural school music programs in the region. Several, after earning graduate degree, have found positions in colleges and universities. d Assessment of Strengths and Weaknesses The Music Education program at USU is a very strong program. Its chief strengths include the lifetime of experience of many of the faculty in elementary and secondary school teaching and university teaching of related methods and skills. Also important is the faculty's activity and influence in the Utah Music Educators Association and at the regional level of the Music Educators National Conference, and their regular participation in national MENC events. Each

music education faculty member has produced significant instructional materials useful in the classroom here and elsewhere. Music Performance Results of the Program and Means for Evaluating Results The Bachelor of Music Degree in Performance is intended to prepare those wishing to combine careers in part or full-time performance and teaching. Graduates of the performance degree program are successful in combining these two musical activities. Their work includes such combinations as church musician/organ teacher; organ or piano teacher/organ or piano technician; university professor/piano performer; semi-professional instrumental musician/individual teacher; pop, jazz, rock, classical guitar performer/individual and group teacher; touring rock, pop, jazz musician, etc. Many go on to graduate studies and excel in fine graduate programs. Some graduates from the past three years are as follows: Area Guitar Guitar Piano Piano Vocal Vocal Vocal Vocal String String String String String Brass Brass Individual Emily Wheeler Brent Wheeler Adam Nielsen Matt Asmus Brianna Craw Brady Cullum Kim Badger Jamilyn Manning Amber King Spencer Melissa Shipp Megan Titensor Jacob Schaub Sara Gueriero Eric Blanchard Sam Jewkes Graduate Schools University of Bowling Green-Ohio University of Bowling Green-Ohio The Juilliard School of Music-New York University of South Carolina Michigan Arizona State University Arizona State University Arizona State University University of Maryland Manhattan School of Music-New York University of Colorado-Boulder Ohio University-Athens Ohio University-Athens Cincinatti Conservatory-Ohio University of Northern Colorado

It is expected that each graduate become proficient in basic musicianship, individual performance, in knowledge of the literature and styles specialties related to the particular emphasis area, and teaching. Proficiency in basic musicianship is evaluated through grades in individual courses. Individual performance is evaluated through grades in individual courses, through jury examinations, through Sophomore Barrier Juries (vocal area only), and the Senior Recital. Performance majors must meet performance standards of an advanced nature, tailored to each particular instrument or voice. Knowledge of the literature and styles related to the performing area is evaluated through grades in individual courses, particularly those in literature, styles and individual instruction. Proficiency in teaching is evaluated through grades in individual courses, through faculty observations of a student's teaching activities, particularly in individual lessons, but in the case of those in the piano emphasis, in courses for young people in Theory, History, Ear Training, Form and Analysis, and Creative Listening. Performance majors must meet proficiency requirements in each area. Most students pass these evaluations the first time. About 10% of those ultimately graduating repeat one or more parts of the evaluation process. Others make voluntary changes in their educational and career plans when they encounter difficulty in the evaluation process. Copies of the Jury Examination Requirements and Senior Recital Requirements are provided in the Student Handbook and Jury Performance Levels are in Appendix G. Assessment of Strengths and Weaknesses

The performance degree program at USU began with the piano emphasis and has expanded over the years to include Guitar, Organ, Voice, String, and Wind/Percussion emphases. It is a very strong program and has great strengths. One great strength is the performance activity and expertise of the faculty and applied teachers. Faculty members and applied teachers in Organ, Voice, Guitar, Piano, String, and Wind/Percussion perform regularly and (many of them frequently) in professional settings including church organ recitals throughout the United States and Europe, opera and musical theatre performances, solo piano performances with professional orchestras, string quartet performances nationally and internationally, guitar solo and ensemble performances in commercial and academic settings, and wind/percussion performances in professional and semiprofessional theatre orchestras, combos and big jazz bands in our region and throughout the United States. In teaching performers, they speak from experience. Another great strength is the quality of performance teaching as reflected in the accomplishments of students of the Music faculty. Students in percussion have won prizes in state and regional percussion performance competitions. Wind, String, and Percussion students have gone on to advanced training in performance, some at graduate schools (Indiana, University of North Texas, Arizona State, etc.) some with private teachers, and are performing regularly in free-lance settings, and part-time professional and semiprofessional orchestras, chamber ensembles and combos, in connection with teaching and other musical activities. Organ students have done advanced training in the United States and England, and have gone on to serve as private teachers and professional church organists. Vocalists have won prizes in state NATS competitions, in state and regional Metropolitan Opera competitions, and have won lucrative fellowships and graduate assistantships at graduate schools. Some have been employed in summer apprentice programs with regional opera companies. Others have continued their training with private teachers. Many are employed as private voice instructors. Guitar students are extremely successful in obtaining or creating lucrative employment which includes regular performance at receptions, dinners, other celebrations, and in night spots, combined with teaching individual and group classes. Piano students have been superbly successful in winning large numbers of competitions, including the Utah State Fair Piano Competition, (the premier state-wide piano competition), Utah Symphony Salute to Youth auditions, state, regional and national MTNA competitions, the 45th Annual Kosciuszko International Chopin Competition, the National Stillman-Kelly Competition, the International Junior Gina Bachauer Competition, and the International Stravinsky Piano Competition. They have also gone on for highly successful graduate study at Eastman, Juilliard, Indiana, USC, and other fine schools.

Virtually, all graduates in performance also serve as teachers in one situation or another, including studio, home, and college/university teaching. USU has strong performance programs. There are, of course, things we would like to improve, as listed below: a. b. It would be useful to offer formal courses in literature in the Wind/Percussion emphasis areas, apart from individual instruction. It would be desirable to increase the number of performance majors in the Organ and Wind/Percussion areas.

Piano Pedagogy Assessment of Strengths and Weaknesses of the Program. 1) Strengths The presence of the Youth Conservatory (YC) in connection to the pedagogy program is a great strength. There are over 225 pre-college students involved in the program and 23 student teachers as well as 15 professional teachers. This provides an actual situation for students to observe experienced teachers teach real students, have their teaching and their students evaluated, and perform themselves in conservatory recitals. The Conservatory program has become a model for the state and Intermountain area. The Piano Program has attracted students from California, Nevada, Washington, Arizona, Colorado and Idaho, as well as Hawaii, Canada, Korea, Italy, Russia and China. Although universities are producing large numbers of performers, the real demand and the greatest need is for knowledgeable and qualified teachers. Very few performers can sustain a career solely on performance skills and most everyone finds themselves in a situation of teaching at one point or another. In this area, there are a large number of students who simply wish to set up private studios in their homes upon graduation. Some unique aspects of this program are as follows: - A student doesn't have to emphasize solo performance at the highest level to succeed in the program. While performance skills are encouraged, it is recognized that many aspects are involved in becoming an effective teacher. - Teaching is a field in which one can succeed at various levels - independently or at institutions of higher learning. A person can become a very competent teacher to elementary students in a much shorter time than it would take to reach the stature of a professional performer. - In learning about processes and psychology of teaching, a person expands his own perspectives and becomes a better musician as well as a more effective contributor in society. Graduates in the program have gone on to higher degrees, obtained jobs, or started their own independent studios with financial success.

Music Therapy Results of the Program Related to its Objectives and Means for Evaluating Those Results. The Bachelor of Science Degree in Music Therapy are intended to prepare students for a professional career as a Board Certified Music Therapist. It is expected that graduates of the program have developed the knowledge and skills which are essential in performing the duties of a professional Music Therapist. General music knowledge and abilities (i.e., musicianship, performance, etc.) are evaluated as described under the requirements for all music majors. The effectiveness of the Music Therapy degree program in producing competent music therapists can be evaluated at four levels: (1) successful completion of the academic program prior to internship; (2) successful completion of the Clinical Internship; (3) the granting of Board Certification status through successful completion of the National CBMT exam; and (4) the success of graduates either in obtaining professional employment or in entering graduate programs. a. Successful Completion of the Academic Program Prior to Internship. Entry level Music Therapy students are informed that they are pursuing a "professional" career and, therefore, must strive to acquire the knowledge and skills necessary in becoming a competent Music Therapist. The students are informed that acceptance into an approved clinical internship program is dependent upon the type of recommendation they receive from

USU's Director of Music Therapy, their overall grade point average, and their grades in relevant courses (i.e., core music therapy, behavioral, social, biological, and music). Students are provided with a copy of the "Music Therapy Internship Recommendation Form" which is an evaluation of the student's professional behavior, personal behavior, academic skills, Music Therapy skills, and musicianship. The presentation of this evaluation form to beginning students serves two functions. First, it motivates students to acquire knowledge and skills through their academic studies. Secondly, it serves as a mechanism through which the Director of Music Therapy can pinpoint weaknesses and recommend additional work to the student within specific areas. Music Therapy students are required to achieve a minimum GPA of 2.75 in all Music Therapy courses. They are allowed to repeat courses to raise their GPA. The students are also informed that the 2.75 GPA is not really adequate for securing a good internship or in demonstrating a professional level of knowledge. Students are told that they are expected to earn grades of at least a B in all Music Therapy courses, and that a grade of C would affect their internship recommendation. Successful completion of the core Music Therapy courses indicates that the student has acquired the knowledge and skills necessary for becoming a registered Music Therapist. Successful completion of MUSC 3310, 3300, 4310, and 4330 indicates that the student has acquired knowledge in the Psychology of Music and the influences of Music on behavior. Completion of the Level 1 and Level 2 Functional Music Skills Proficiency Examinations in piano, voice, and guitar, fulfills the "Functional Music Skills" requirement and demonstrates that the student has satisfactorily demonstrated competencies in those areas (See ―Functional Music Skills Proficiency Examinations for Music Therapy Majors‖ in the addendum to the Music Department Student Handbook, 2000-2001, p. 12 - 13.) b. Successful Completion of the Clinical Internship. All Music Therapy students must complete a Clinical Internship at an AMTA approved clinical training site. The Music Therapy Clinical Training Director and the student each submit 3-month and 6-month evaluations of the student's work during the six-month internship. Successful completion of the clinical internship demonstrates that an AMTA approved Clinical Training Director (not associated with the USU program) has 1) evaluated the Music Therapy student's competencies; 2) has recommended that they have completed the requirements for graduation; and 3) determined that they are eligible to sit for the CBMT Examination. c. The Granting of Board Certification Status Through Successful Completion of the National CBMT Exam The Certification Board for Music Therapists (CBMT) was incorporated in May of 1983 to advance the profession of Music Therapy by developing a national certification program for Music Therapists. The board is an independent body that establishes policies, procedures, and standards for certification in the field of Music Therapy. The granting of Board Certification status to Music Therapists (MT-BC) recognizes professional competence at the entry level. To date, all USU graduates who have taken the Board Certification exam have passed and have been granted BC status. d. The Success of Graduates Either in Obtaining Professional Employment or in Entering Graduate Studies During the past five years, thirty-five Music Therapy students completed their on-campus academic studies at USU. Seven of these students are currently completing internships, and one has entered graduate school. Thirteen are working as professional Music Therapists.

Three are employed in related work settings (schools, music store), eight are either seeking employment or unemployed. We have no information on three of these graduates. d An Assessment of Strengths and Weaknesses The Music Therapy Program at USU is a strong professional program. Some primary strengths are: (1) the quality of field experiences provided for students; (2) the level of clinical and research expertise provided by the Director of Music Therapy; and (3) the clinical and research resources available to the students. 1) The USU Music Therapy Program is strongly integrated into existing community facilities. This results in a high quality of clinical practicum experiences. Music Therapy students provide programming for students with special needs in the Logan City and Cache Valley School Districts. This programming is based on the needs of the students, as identified in their Individual Education Programs (IEP's). Music Therapy students work closely with school district professionals (special education, teachers, speech therapists, etc.) during their field experiences. The Music Therapy program is also strongly integrated within the Sunshine Terrace Adult Day Center and Nursing Home Programs. Jennifer Birchell, and Annette Longhurst, Board Certified Music Therapists at Sunshine Terrace and graduates of the USU program supervise field experiences for students. Music Therapy students have the opportunity of observing both therapists‘ work in an authentic clinical setting. In addition, students work with clients on objectives established by the treatment team at Sunshine Terrace. Karen Carter, (MT-BC) supervises music therapy students at both Bear River Adult Skills Center (BRASC) and Logan Regional Hospital. Karen‘s many years of experience provide students with a wealth of clinical expertise and practical guidance in both settings. Heather Overly (MT-BC) coordinates all practicum experiences and personally supervises students in public school settings including Cache High School,(an alternative high school for at risk adolescents). Professor Maureen Hearns (MT-BC) supervises mental health oriented clinical practica including Bear River House, CAPSA, the local agency serving battered women and their children and Hospice of Cache Valley. Both Hospice and CAPSA practica are considered advanced placements and students receive volunteer training from both agencies as well as on site supervision. 2) Maureen Hearns, Director of Music Therapy and Dr. Bruce Saperston, MT-BC have extensive clinical and research experience. They have developed (and continue to develop) original Music Therapy interventions and tools to aide in assessment and evaluation of music therapy clinical outcomes. Professor Hearns and Dr. Saperston are considered leaders in the field and are frequently invited to present work at national and international conferences and symposia. Music Therapy students in the USU program learn to employ the most recent intervention strategies through lectures, role play, on-site demonstration, and supervision of student field experiences. 3) Another program strength is the variety of clinical and research resources available to students. Students have access to a wide range of musical instruments appropriate for use in diverse clinical settings. Yet, another strength is the opportunity for our students to develop musical competencies in piano, voice, and guitar. The addition of MUSC 1320, Music Therapy Ensemble has further strengthened functional skills development.


Challenges and Recommendation

Music Education Areas for Improvement 1) More consistent use of observation of student micro-teaching experiences early in the program to identify students with significant problems in teaching so that those problems can be remedied or the student counseled early to reconsider the major. The general level of teaching ability of students nearing graduation is excellent, but in a few cases needs improvement or redirection. 2) Ideally, a course should be added in Secondary School String Methods and Materials for String Music Education Majors. Currently, both wind and string methods are combined in MUSC 3240, Instrumental Methods. Plans for Addressing Weaknesses and Improving Results The transition from quarters to semesters afforded the USU Music Department to undergo selfscrutiny of all of its programs. Music Education programs were streamlined where redundancy occurred and strengthened where weakness were identified. the professional education component also underwent change and redundancy across programs was eliminated. Adding a part- or full-time faculty member with extensive successful teaching experience would be helpful in supervising education majors clinical experiences in MUSC 3220, Choral Methods, and 3240, Instrumental Methods, as well as in MUSC 3270, Teaching Strategies. This would be possible only when additional funds become available from state sources, or upon the retirement or departure of present faculty. Such expertise is available in the community among public school teachers, which would be available on a part-time basis if funds were available. Music Performance Plans for Addressing Weakness and Improving Results The difficulty in creating additional courses in Wind/Percussion Literature is finding adequate faculty load time for the teaching. One solution would be to adapt the currently existing band literature courses to include study of solo wind and percussion literature as well. The other solution would be to find funds for additional adjunct or full-time faculty to teach such courses and assist with other department needs. The difficulty in recruiting additional performance majors in Wind/Percussion is the lack of permanent faculty positions for each instrument.

Piano Pedagogy Weaknesses of the Program. The program is limited by the resources of the Department. Lack of classroom space, practice rooms, recital rooms, and well-maintained pianos are the main problems. As the quality of students rises, it becomes increasingly necessary to provide good pianists with good pianos for practice and performance. As pianos get heavier use, maintenance of the pianos becomes a bigger financial problem. As more and more students outside the state seek entry into the program, scholarships and financial aid becomes another limiting factor. Plans for addressing weaknesses and improving results While the raising of practice room fees could provide some minimal financial assistance, the Department is hesitant to raise student fees at this time. Faculty in the Piano Program and the department head are involved in development efforts in addressing the piano program‘s financial needs. The need for purchase, repair, and maintenance of pianos was previously addressed. Music Therapy Areas for Improvement As previously stated, Music Therapy students currently have the opportunity of working with a wide range of clients with a number of professional music therapists who work in a number of

facilities in the Logan area. Since trends in the field indicate that the development of consultant and entrepreneurial skills are also valuable, students would also benefit from having the opportunity to observe and participate in the operation of a music therapy clinic. A location for and funding for such a clinic would also greatly enhance the program‘s ability to provide additional music therapy services to the community, especially in the areas of consultation, assessment, and wellness services.

C. Faculty
Data I Number Faculty and Staff 1 Qualifications The Department is comprised of faculty members who are highly qualified by earned degrees and/or professional experience and/or demonstrated teaching competence. Examination of faculty files, workloads, and accomplishments, and music Department statistics demonstrate that the productivity of music faculty is high. This is true in the number and quality of concerts and recitals produced (116-AY 0607), number of music majors enrolled (320--AY 06-07), quality of teaching as measured by student accomplishments and course evaluation statistics, off-campus professional contributions, and service to the university, community, and profession. 1


Number and Distribution

The Department employs 70 faculty and staff which include 18 tenure-line faculty, a resident string quartet, 45 part-time faculty, and 3 full-time staff members. During the current academic year, the Department has four vacant tenure-track positions (music therapy, organ, choral education, piano). A search has been implemented for piano only due to funding cuts. Coverage for these assignments and responsibilities is being accomplished with part-time faculty and by compensating full-time faculty for additional workloads. The Department‘s 19 full-time faculty members and resident string quartet are listed below along with their degree and teaching area(s). ii. Degrees and rank

GARY AMANO (1974): Professor and Assistant Department Head. MM -Juilliard School of Music. Director of Piano Program and Piano Instruction. FA 201, 797-3028, <>. MICHAEL BALLAM (1987): Professor. DM -Indiana University. University Studies, Opera. FA 213, 797-3034, <>. SERGIO BERNAL (2001): Assistant Professor. MM - University of Michigan & Yale University. Director of String Program, Orchestra Conductor. FA 218A, 797-0487, <>. MIKE CHRISTIANSEN (1974): Professor. MM - Utah State University. Director of Guitar Progam. FA 124, 797-3011, <>. CINDY DEWEY (1996): Associate Professor and Assistant Department Head. DMA - Louisiana State University. Director of Voice Program. FA 208B, 797-3055, <>. MARK EMILE (1981): Associate Professor. DMA - University of Colorado at Boulder. Scoring & Arranging, Violin. FA 122, 797-3051, <>. CORY EVANS (2002): Assistant Professor. DMA - Arizona State University. Choral Education, Choirs.

FA 215, 797-3035,>. TODD FALLIS (1991): Professor. DMA - University of Southern California. Instrumental Music Education, Low Brass. FA 120, 797-3005, <>. DENNIS GRIFFIN (1973): Professor. PhD - Brigham Young University. Director of Music Technology, Percussion, Composition. FA 114, 797-3008, <>. JON GUDMUNDSON (2003): Assistant Professor. DMA - University of Northern Colorado. Director of Jazz Program, Saxophone. FA 212, 797-3003, <>. MAUREEN HEARNS (2005): Assistant Professor. Director of Music Therapy. FA 220B, 797-3009, <>. DENNIS HIRST (1993): Assistant Professor. MM - University of Oklahoma. Piano & Bassoon. FA 101, 797-3257, <>. LYNN JEMISON-KEISKER (2002): Associate Professor. DMA - University of Southern California. Director of Opera Program. FAV 129, 797-3038. NICHOLAS MORRISON (1991): Professor. DMA - Florida State University. Associate Director of Bands, Clarinet. FA 103, 797-3506, <>. BROOKE REYNOLDS (1998): Piano Program. BM - Utah State University. FA 203, 797-3033 THOMAS ROHRER (1998): Associate Professor. PhD - Florida State University. Director of Bands, Director of Music Education, Trumpet. FA 106, 797-3004, <> BRUCE SAPERSTON (1987): Associate Professor. PhD - University of Texas at Austin. Music Therapy. UR 202, 797-3036, <>. ERIC SMIGEL (2004); Assistant Professor. PhD - University of Southern California. Music History, FA 210, 797-3095. <>. LESLIE TIMMONS (1991): Associate Professor. MM - Michigan State University. Orff Certification Orff Institute, Salzburg, Austria. Flute, Elementary Music Education. FA 105, 797-3699, <>.

FRY STREET QUARTET (2002) ANNE FRANCIS (2002): Lecturer. MM - Shepherd School of Music at Rice University. Cello. UR 21, 797-3038. RUSSELL FALLSTAD (2002): Lecturer. MM - Northwestern University. Viola. FA 208, 797-3092. WILLIAM FEDKENHEUER (2006): Lecturer. BM – Rice University. Violin. FA 206, 797-0083. REBECCA McFAUL (2002): Lecturer. MM - Northwestern University. Violin. FA 104C, 7973092. iii. Faculty demographics Faculty assignments (full and part time*) according to areas of instruction

Brass Todd Fallis Thomas Rohrer Choral Cory Evans, Director Core Courses Gary Amano Sergio Bernal Mark Emile Dennis Hirst Dean Madsen, Director Eric Smigel Education Mike Christiansen Todd Fallis, Director Melodie Francis* Dennis Griffin

Music Therapy Maureen Hearns, Director Bruce M. Saperston

Percussion Dennis Griffin, Director Piano Gary Amano, Director Dennis Hirst

String Russell Fallstand Will Fedkenheuer Anne Francis Rebecca McFaul Mark Emile Yi-Ching Fedkenheuer* Vocal Michael Ballam* Cindy Dewey, Director

Nick Morrison Thomas Rohrer Leslie Timmons Greg Wheeler* Guitar Michael Christiansen, Director Jazz Jon Gudmundson, Director Todd Fallis Music Technology Dennis Griffin, Director

Woodwind Nicholas Morrison, Director Jon Gudmundson Leslie Timmons Greg Wheeler*

iv. Percent with terminal degrees—72%


Research/creative activity productivity

Faculty contributions include off-campus activities of many kinds including: 1) Professional conducting and performing in North America, South America, Europe and Asia. 2) Publication of pedagogical method books, videotapes, musical arrangements and compositions by national and regional publishers. 3) Presentations, workshops, clinics, consulting, and adjudication in professional settings including national and regional professional meetings. The information below details the research/creative activity of the Department‘s faculty. Gary Amano Professor Gary Amano, Director of Piano Studies at Utah State University, continues the tradition of outstanding piano performance and pedagogy begun by his mentor, Irving Wassermann. Professor Amano

obtained Bachelor and Master of Music degrees from the Juilliard School in New York. He founded the USU Youth Conservatory which has been recognized by NASM as a national model for youth programs. His students have won first place and/or grand prizes in numerous competitions, including the Kingsville International, the Stravinsky International, the MTNA Wurlitzer, Yamaha, and Baldwin National Competitions, the Young Keyboard Artists Association International (YKAA), the Kosciusko National Chopin Competition, the Junior Gina Bachauer, and the National Stillman-Kelly Competitions. Professor Amano's students continue to receive top honors at state, regional, and national competitions. 2004 January: Brandon Lee won 1st place at the MTNA regional competition in Honolulu, Hawaii March: Brandon Lee won 1st place at the National Music Teacher's Association convention in Kansas City, Missouri July: Brandon Lee won the Silver Medal in the 2nd New York Competition sponsored by Stecher and Horowitz in New York City August: Luke Hancock won 1st place in the College Division of the Utah State Fair, making the 6th year in a row that my students have won 1st place in this division September: At the Salute to Youth Auditions 3 pianists were selected to play with the Utah Symphony--all were my students October: At the state UMTA competition held in Salt Lake City, 5 of the 6 top awards were won by my students--1st and 2nd in the Baldwin competition, 1st and 2nd in the Yamaha competition and 2nd in the Steinway competition. November: In the Idaho state MTNA competition in Boise, Idaho, Nyle Matsuoka won 1st place in the Steinway division November: Jessica Roderer, freshman at U.S.U. and Natalie Coombs (11) performed with the Utah Symphony. Brandon Lee will perform an entire concerto with them next May. 2005 January MTNA Southwest Division Regional Competition in Long Beach, California Baldwin Division: 1st Place, John Sargeant Yamaha Division: 1st Place, Jessica Roderer February Grand Junction Symphony auditions in Colorado: 2 nd Place, Aram Arakelyan March Brandon Lee gave a full solo recital in New York City under the sponsorship of the Stecher and Horowitz Foundation as the Silver Medalist in the Second Annual New York Competition April Bandon Lee gave a full solo recital in Washington, DC under the sponsorship of the Stecher and Horowitz Foundation Music Teacher‘s National Convention in Seattle, Washington National Balwin Competition: 1st Place, John Sargeant

This was Professor Amano‘s eighth national winner, setting a record for the highest number of national winners in the entire Music Teachers National Association. Julian Martin of the Juilliard School has had seven national winners. Adam Nielsen was USU‘s Robin‘s Talent of the Year Adam Nielsen was admitted to the master‘s program on a $10,000 (Gold and Fitzdale) scholarship to The Juilliard School, New York City August Utah State Fair Music Competition College Division: 1st Place, Anarie White (we have now won 1st in the college division for seven years in a row.) 2nd Place, Ben Salisbury 3rd Place, Keenan Reesor High School Division 1st Place, Emilee Bradley 2nd Place, Zachary Coombs September Utah Symphony Auditions for Salute to Youth winner in piano: Zachary Coombs October Zachary Coombs performed with the Utah Symphony in Symphony Hall November Utah Music Teachers Association state competition Out of the 10 awards given, seven were to students of Professor Amano

Michael Ballam Michael Ballam has received critical acclaim with the major opera companies of the USA and a recital career in the most important Concert Halls of four continents. His operatic repertoire includes more than 600 performances of over 70 major roles sharing the stage with the world's greatest singers. At the age of 24, Dr. Ballam became the youngest recipient of the degree of Doctor of Music with Distinction in the history of Indiana University. An accomplished pianist and oboist, he is the Founder and General Director of the Utah Festival Opera Company, which is fast becoming one of the nation's major Opera Festivals. He is the author of over 30 publications and recordings in international distribution and serves on the Board of Directors of four professional Arts organizations. 2004 Professor Ballam's scholarly/creative activities include performances and lectures on a regional and national basis. Dr. Ballam produced over 100 performances of Fiddler On The Roof, Madama Butterfly, The Wizard of Oz, Nabucco, Operfesta Carnivale, Musica Magnifica, Face on the Bar Room as part of the Utah Festival Opera season, with an additional venue in Park City and Ogden, Utah and continued a classic film series, including a John Gilbert Festival. Presented 3 international vocal master teachers for UFO/USU and managed 180 employees with 2.1 million budget. UFO audiences increased by 17% numbering approximately 23,000, with international reviews (London, England and Japan). He provided guest lectures and masterclasses at university programs including Brigham Young University, San Francisco Conservatory, Manhattan School of Music and Juilliard in New York City, New England Conservatory and Boston University, Cincinnati Conservatory, U of Kansas, (Lawrence), U of Nebraska,

(Lincoln), Moody Bible Institute (Chicago), Kansas U (Manhattan) SMU in Dallas, U of Ill, (ChampaignUrbana), Yale. He taught at the annual Opera for Children by Children conference at the Utah Festival Opera and facilitated the creation and performance of 114 original operas by children of Cache, Logan, Tooele, Davis, Ogden, Granite, Jordan, Salt Lake and Box Elder counties. He published two new Recordings: Seek After These Things, and Behold Your Little Ones under the Phoenix label, and continued his concert appearances throughout the US. Professor Ballam ‗s creative/scholarly activities include continuing to serve as Chairman-Judge of the Vera Scammon International Vocal Competition in Denver, Colorado. He was hired by Utah Opera to lecture on Puccini and Leoncavallo’s La Boheme, a Historical Perspective at Westminster College in SLC, served on Dr. Janice Hall‘s Tenure Committee at USU, and taught a class on Opera as part of USU Summer Citizen Educational offerings. Performed recitals at SUU, Dixie College, Columbia, S.C. and Thanksgiving point. Began weekly broadcast On Stage With Michael Ballam, on NPR (KUSU) 2005 Professor Ballam‘s scholarly/creative activities included performances and lectures on a regional and national basis. As general director of the Utah Festival Opera Company, he presented Turandot, The Crucible, Kismet and Annie Get Your Gun. The Festival attracts 25,000 patrons, influences the economy of Logan, UT between 4.5 and 9 million dollars annually, has 200 employees and an annual budget of 2.1 million dollars. The Utah Festival Opera also produces the Opera by Children for Children Program that serves public school students throughout Utah, Idaho, Nevada, Arizona and California. Professor Ballam also served as an adjudicator nationally at numerous schools of music including Cincinnati Conservatory of Music, The Juilliard School of Music, Indiana University and The Manhattan School of Music. Sergio Bernal An outstanding Latin American conductor, Sergio Bernal has earned international recognition as a "tasteful technician with a more than technical gift for connecting with a score‘s essence." His debut appearance at New York‘s Lincoln Center was considered "admirable... Balances were exemplary; attacks and releases precise and explicit; and the sultry atmosphere well conveyed". A native Colombian, he studied on a full scholarship and stipend with Lorin Maazel, Günther Herbig, Erich Leinsdorf, and Eleazar De Carvalho in the Yale University/Affiliate Artists Conducting Program. He also holds music degrees from Queens College and the University of Michigan, where he studied with Gustav Meier, and won conducting scholarships at the Aspen Music Festival and the Tanglewood Music Center. In 1986, he became an assistant to the late Eduardo Mata and since then worked closely with him in recording projects of the Ibero American symphonic repertoire. Mr. Bernal‘s engagements include appearances with the Simón Bolívar Orchestra of Venezuela, the Orquesta Sinfónica Municipal de Caracas, the National Symphony Orchestra and the National Opera of Mexico, the National Symphony Orchestra of Colombia, the Bogota Philharmonic, the Torun Chamber Orchestra and the Szczecin Opera of Poland, the W.A Mozart Philharmonic of Rumania, and the Indianapolis Chamber Orchestra. He also gave outreach and family concerts with the Dallas and the New World Symphony, and was a cover conductor for the Detroit Symphony Orchestra and the New World Symphony (tours to South America and Costa Rica). Since 1993, Mr. Bernal has worked closely with the National System of Orchestras of Venezuela. There he has served as a permanent guest conductor and artistic advisor for the System, and as music director of the Mérida Symphony Orchestra. In 2000, he led the Orquesta de Juventudes de los Países Andinos in its tour to Bolivia, Colombia, Ecuador, and Perú. In 2001, he recorded a 2-hour instructional video on Orchestral Conducting, to be used within the educational programs of the System of Orchestras in Venezuela and other Latin American countries.

2004 His scholarly/creative activity was comprised of an instructional video, guest conducting and the development of an article. Professor Bernal completed a two-hour instructional video on conducting that is to be released by the Fundacio del Estado para el Sistema Nacional de Orquestas Juveniles e Infantiles de Venezuela (Government Foundatio for the National System of Youth and Children‘s Orchestras of Venezuela). This video will be widely distributed in Latin America. Professor Bernal was invited to conduct the Utah All-State Orchestra in 2004, and received recognition for that achievemnt from John J. Mahlmann, Executive Director of the Natioanl Association for Music Education. He has been developing an article entitled, ―Preparing Performance Materials for a Young String Orchestra‖ which will be submitted for publication. 2005 His scholarly/creative activities included professional conducting engagements with the Eugene, Oregon Symphony Orchestra which was acclaimed by critics as ―a great success‖ and the Simon Bolivar Orchestra in Venezuela.

Mike Christiansen Mike Christiansen began the guitar program at Utah State University over 30 years ago. It is now recognized as one of the leading guitar programs in the United States. In 1994, he was selected as the USU Professor of the Year, the USU College of Humanities, Arts and Social Sciences Professor of the Year, and received the USU Eldon Gardner Teaching Award. Mike also received the ASTA (American String Teachers Association ) Utah Chapter Outstanding Collegiate Teacher of the Year Award in 2006. He wrote his first book in 1977. This book is still in print and widely used. To date, he has written or contributed to over 40 books for guitar, has recorded 22 instructional videos and DVDs and appears on 36 CDs. He serves on the Mel Bay Board of Directors. Mike‘s books are distributed internationally. His instructional video, Guitar Basics, has twice won the Platinum (Non-theatrical) Video Award. His book, Mastering the Guitar won the Best New Music in Print award. He has written guitar articles for Acoustic Guitar Magazine, Soundboard magazine, Fingerstyle magazine, Just Jazz Guitar magazine and the Mel Bay Newsletter. In his career, he has written and recorded music for radio, television and films. He maintains a rigorous performance schedule. He gives over 130 performances yearly as a soloist, member of the group Mirage, and as guitarist in The Lightwood Duo. Mike has performed with the Utah Symphony and the Mormon Tabernacle Choir and has been part of the Utah Arts Council Tour for several years. He is a popular workshop clinician, as well. Mike has performed with some of the world‘s leading musicians including Jose Posades, Johnny Highland, Robben Ford, Glen Frey, Jack Petersen, Joe Diorio, and Thiago Trajano. Mike understands the value of music in society, and knows music can touch the heart deeply to make us all more human. Perhaps that is why his students come from all over the world to study with him. Whatever their reasons for coming, upon their graduation, many of them have become very successful in their guitar careers. He is proud that his students can be found performing professionally, teaching at colleges, universities, and in private studios. Also, some students have gone on to be editors for well-known guitar publishers and magazines. In 2004, one of his former students was nominated for a Grammy, and most recently, another student had his Jazz CD hit #1 on the national jazz charts. In the 30 years Mike has been Director of Guitar Studies at Utah State University, through his playing and writing, he has elevated the quality of guitar performance and education locally, nationally, and internationally. 2004

His publications this year have included the following books for Mel Bay Publications: Fingerboard Theory, The Bossa Nova Guitar Method, Mastering the Guitar. He also contributed to publications for Warner Bro s. in association with Mel Bay including 14 arrangements for the book Bossa Nova for Guitar and arrangements for other books including Guitar Tabsongs/Classic Rock, Guitar Tabsongs/Popular Country, and Jazz Standards for Guitar. His recordings and performances included DVDs and CDs for Warner Bros. And Mel Bay including, Bossa Nova for Guitar, Jazz Standards for Guitar, and The Buscarino Guitar. He provided over 100 performances nationally and locally with the Lightwood Duo and Mirage. He provided workshops and clinics at five national music educators national conferences and two three-day guitar for educators workshops. 2005 His scholarly/creative activities include published books, performances, and clinics. These are delineated below. Authored Bossa Nova and Samba for Guitar Mel Bay Publications Fingerboard Theory book, Mel Bay Publications Performances with jazz guitarist, Jack Petersen, Arizona with Brazilian jazz pianist, Jota Junio, Rio de Janeiro, Brazil 100 performances as soloist with the Lightwood Duo with Tom Nelson Sextet in New York with Brazilian guitarist, Thiago Trajano at the International Jazz Convention, New York Hosted Tommy Emmanuel, guest performer and clinician Hosted Petar Janovich, guest performer and clinician

Cindy Dewey Dr. Cindy Dewey came to USU from West Virginia University where she was the coordinator of all vocal programs, graduate and undergraduate. She received her doctorate from Louisiana State University where she studied with Dr. Sandra Kungle and Martina Arroyo. She also studied with Oren L. Brown (Juilliard). She has appeared in leading roles with opera companies in Texas, Louisiana, Ohio, West Virginia, and made her New York debut in the award-winning opera Intimations. Dr. Dewey is a frequent recitalist and has been a finalist in a number of national and international competitions. Her students have sung at the Metropolitan Opera, the San Francisco Opera, Santa Fe Opera, and elsewhere. 2004 Dr. Dewey has an excellent professional reputation and continues to perform and lecture on a national basis. Last March, she provided two lectures at the National Association of Teachers of Singing/National Music Teachers National Association Convention. She submitted a recording of ―Scenes from Tyneside‖ by Phyllis Tate and was selected to provide a lecture/recital at the upcoming National Association of Teachers of Singing National Convention. Other performances included Berio Folksongs with Musica Viva and a concert of selected songs at the Logan Tabernacle. 2005 Her creative activity has been comprised of solo performances, masterclasses and invited presentations. She was soprano soloist with the Victoria Symphony, British Columbia; and with the USU Choirs and Orchestra in Mozart‘s Requiem. She provided a recital and masterclass at the University of Nebraska. She was an invited panel member for a discussion of solo versus choral singing techniques at the national National Association for Teachers of Singing (NATS) convention in Minneapolis, Minnesota.

Mark Emile Degrees: D.M.A. (University of Colorado, Boulder), Graduate Studies (University of Indiana, Bloomington), M.M. (University of Nebraska, Lincoln), B.A. (Pomona College). Violin instructors: Joseph Silverstein, Oswald Lehnert, Yuvall Waldman, Vartan Manoogian, Giora Bernstein, Robert Emile. Conducting studies include work with Michael Charry and Louis Lane (Pittsburg Symphony), Thomas Briccetti (Omaha Symphony), Sir Brian Priestman (Miami Symphony), Robert Emile (Lincoln and San Diego symphonies), and Tibor Kozma (Bloomington, Indiana). Since 1970 he has conducted professional, university and youth orchestras in California, Colorado, Nebraska, Missouri, Alabama, Utah, Idaho and Maryland; performed in many professional orchestras, including the San Diego, Omaha, Birmingham, Huntsville, Lincoln, and Utah Symphonies; performed on stage with performers from all genres; such as Arthur Fiedler, André Kostelanetz, Glen Cambell, Chet Atkins, Peter Schickle, Peter Nero, Daniel Heifitz, Chuck Mangioni, and many others; performed in movies with Glen Close, Meatloaf, Taj Mari, Skitch Ulrich, Gary Oldham and others; recorded movie and television scores, such as ―The Iron Giant‖, ―Lydian‘s Jest‖, ―The Scarecrow‖, and ―Zena, Warrior Princess‖ episodes. Dr. Emile currently teaches string classes, conducting, and orchestration at Utah State University, maintains a private studio, performs with the Utah Symphony several times a year as well as with other professional orchestras in the area, and is an active string adjudicator. 2004 His scholarly/creative activities for the past year were performances with the Utah Symphony. 2005 His scholarly/creative activities were comprised of performances with local orchestras including performances as a violinist with the USU Summer Alumni Band and as a conductor with the Cache Chamber Orchestra and Bridgerland Honor Orchestra.

Cory Evans Cory Evans, Director of Choral Activities at Utah State University, is from Salt Lake City, Utah. He received a B. Mus. degree in music education from Utah State University, a M. Mus. degree in vocal performance from the University of Florida, and a D.M.A degree in choral conducting from Arizona State University. He also serves as Music Director of the Northern Utah Choral Society and as Executive Director of Music Reservata of Utah. Cory has also served as Musical Director of the Arizona Mormon Choir, Zion's Youth Choir of Florida, and as Head of Choral Activities at Indian Hills Middle School in Sandy, Utah. As a tenor soloist, Cory has recently premiered Ophelia in Seville by Miguel del Aguila with Utah State University's Musica Viva. He has soloed with the Vancouver Symphony and Utah Chamber Orchestra, and appears on the CD Sing Me to Heaven, released on Integra Classics. He and his wife, Jennie, live in Nibley with their girls, Ellie and Jessie. 2004 His creative activities included his work as musical director for Musica Reservata. In addition to their regular concert series he developed early music presentations for local junior high and high school students. In addition, he was invited to present workshops on musical theatre, vocal production, and choral conducting techniques for the Southern Idaho High School Music Festival. He was also invited to conduct the Northern Utah Honor Choir. 2005 His scholarly/creative activities include his performances as a guest conductor and projects with Musica Reservata of Utah. Through his work with Musica Reservata of Utah he has begun the development of an early music CD recording for public school use.. He was guest conductor of the Arizona Mormon Choir, Mesa, Arizona for their 25th anniversary celebration. He collaborated with Sergio Bernal in the development and organization of performances of Mozart‘s Requiem in Abravanel Hall and the USU

campus. He collaborated with the LDS Institute in the development of a commercial CD with the USU Chamber Singers entitled The Bells of Christmas.

Todd Fallis Todd Fallis, Professor of Trombone, joined Utah State University in 1991.. Dr. Fallis holds his bachelor's degree from Crane School of Music SUNY Potsdam, NY in Music Education, Masters of Music in Performance from University of Southern California and his DMA in Music Education from University of Southern California. Since coming to Utah, he has performed with the Utah Symphony, Utah Opera, Ballet West and Utah Festival Opera Company Orchestra. In addition, he has performed at the Classical Music Festival in Eisenstadt, Austria. Dr. Fallis has held performed and held masterclasses at Ohio University, University of Kentucky and Marist College. Dr. Fallis regularly records in the studio in Salt Lake City having played on recordings for CNN, ESPN, Discovery Channel, ABC Monday Night at the Movies theme, Walker Texas Ranger, Touched by an Angel, Hercules and Zena: Princess Warrior television shows. In addition he has played on motion picture film scores including The Sand Lot, Pearl Harbor, Iron Giant, Antz, 101 Dalmatians and Jumanji. Todd Fallis performs on an Edward's Bass Trombone. 2004 Professor Fallis is a fine trombonist and performs professionally in a wide variety of ensembles including the UFOC Orchestra and occasional performances with the Crestmark Orchestra and professional ensembles that record at the LA East Recording Studios in Salt Lake City. Professor Fallis frequently performs on motion picture soundtracks recorded at that studio. In addition, he performed with the Marist College Wind Orchestra in New York last spring. 2005 Professor Fallis‘ creative activities were largely comprised of performances with the Utah Festival Opera orchestra, Celebrate America, Cache Community Theatre orchestra, Crestmark Orchestra, Kicks Band, Way, Way East Bay and as a studio musician with LA East Recording Studios. In addition he reviewed a book for Houghton Mifflin on brass techniques.

Russell Fallstad Growing up in Minneapolis, Russell Fallstad began Suzuki violin lessons in the public schools, and has since blazed a remarkable trail as a violinist and violist. A founding member of the Fry Street Quartet, the New York Concert Review praised Fallstad for his ―glorious strength‖ in the quartet's Carnegie Hall debut, adding that ―his fine posture and elegance were paragons of what makes for a good violist.‖ With the Fry Street Quartet, Fallstad has performed internationally, given a Carnegie Hall Debut, recorded five CD‘s, and won top prizes in the Fischoff, Yellow Springs and Banff International string quartet competitions. Fallstad's lifelong passion for chamber music began with a young quartet called the MacPhail Quartetino, in which he played both violin and viola from age 10 through high school. His principal teachers were Helen Loing, Mark Bjork, and Gerardo Ribeiro. As principal of the Civic Orchestra of Chicago, Fallstad worked with renowned conductors, Barenboim, Boulez, Mehta, Solti, Tilson-Thomas, and many others. As a chamber musician, Fallstad has performed with musicians such as Miriam Fried, Lynn Harrell, Paul Katz, Donald Weilerstein, and Pinchas Zukerman. Garnering many diverse experiences as a college student at Northwestern University, Fallstad experimented with genres, playing many world premieres as a part of the Chicago new music scene, while at the same time dabbling in rock bands as lead singer, song-writer, and electric bassist. He has also performed with baroque performance groups like Apollo's Fire, and with crossover groups like the latin-jazz fusion group, Macondo Stew. Deeply committed to education, Fallstad has taught at DePaul University, Northwestern University, and the North Carolina School for the Arts, and he currently teaches viola and chamber music at Utah State University. He is an advocate for the Suzuki Method, and has taught young children at The Music Institute of Chicago, the Western Springs School of Talent Education, the Naperville Suzuki School, the Suzuki-

Orff School, and at summer institutes across the nation. Fallstad is currently developing a Suzuki String Pedagogy program Utah State.

William Fedkenheuer Matching elegance and refinement with a fire in the belly (Boston Globe) internationally acclaimed violinist William Fedkenheuer's performances are passionately intelligent and intelligently passionate. (Boston Globe) Winner of the Lincoln Center Martin E. Segal Award, the Canadian native has distinguished himself as a versatile artist with performances as soloist, chamber musician, orchestral musician and fiddler that grab the audience's undivided attention for every note? (Strad Magazine). Mr. Fedkenheuer's touring in the US has included performances at Chamber Music Society of Lincoln Center, Carnegie Hall Presents, San Francisco Performances and the National Gallery. Abroad, he has performed at the American Academy in Rome, Fountainbleu, Spoleto Festival of Two Worlds, the Taipei National University of the Arts and in Austria, at the famed Esterhazy Castle during the Haydn Festival in Eisenstadt. Highlights of his work in new music include the world premiere of Osvaldo Golijov pieces with soprano Dawn Upshaw and Clarinetist Todd Palmer at the Tanglewood and Ravinia Festivals as well as Steve Mackey's Troubadour Songs for Electric guitar and String Quartet at Princeton University and the La Jolla Music Festival. Mr. Fedkenheuer has worked with many other notable composers such as Gunther Schuller, Donald Erb and Mark-Anthony Turnage. Mr. Fedkenheuer most recently collaborated with composer Magnus Lindberg and Harvard University in a celebration of Lindberg's life and works. Mr. Fedkenheuer began his studies at age four at the Conservatory of Music, Mount Royal College in Calgary, Alberta, Canada. His performing career was launched at age seven as the youngest member of the world-renowned Calgary Fiddlers, performing for audiences of thousands around the globe, and earning national acclaim as the Fiddling Champion of Canada in his early teens. Making his solo violin debut with the Calgary Philharmonic in 1994, Mr. Fedkenheuer went on to receive a Bachelor of Music degree from Rice University's Shepherd School of Music under the tutelage of Kathleen Winkler and continued his studies with Miriam Fried at Indiana University. Mr. Fedkenheuer was violinist of the Borromeo String Quartet and served on the faculty of the New England Conservatory of Music in Boston, MA from 20002006.

Anne Francis Cellist Anne Francis served as assistant to Paul Katz at the Shepherd School of Music at Rice University while pursuing her Master of Music degree. She received her Bachelor of Music degree from the Cleveland Institute of Music, where she studied with Richard Aaron and Alan Harris. Previous teachers include Bonnie Hampton and Bruce Uchimura. Before joining the Fry Street Quartet, Anne was a prizewinner in the Carmel National Chamber Music Competition, the Darius Milhaud Performance Prize Competition, and the Fischoff National Chamber Music Competition. She also appeared as guest artist with the Kalamazoo (MI) Bach Festival, the Fontana Summer Music Festival, the Swannanoa (NC) Chamber Music Festival, and SummerFest La Jolla, and performed as soloist with orchestras in Michigan and at the CIM. She has been a fellow at the Aspen Music Festival and School's Center for Advanced Quartet studies three times and participated in the Isaac Stern Chamber Music Workshop at Carnegie Hall in 1995, 1999, and 2001. In the 2003-2004 season she performed as soloist with the Utah State University Symphony Orchestra and the Western Piedmont Symphony. She is currently teaches cello and chamber music at Utah State University.

Dennis Griffin Dr. Dennis D. Griffin is a member of the faculty at Utah State University . He was Director of Bands for seven years, and is currently Percussion Instructor, Director of Music Technology. He has performed with the Utah Symphony Orchestra, Ice Capades Orchestra, Promised Valley Playhouse Orchestra, Bear Lake Festival Orchestra, Utah Festival Opera Orchestra and the Utah State University Alumni Band. Dr. Griffin is a published composer and his work Fanfare Variants was premiered by the Utah State University band in

May, 1994. Other recent commissions and grants include "Kaiparowits Fanfare" for Concert Band, "A Child's Garden of Bugs" for Wind Quintet and Orff Instruments, and "Pioneer Suite" for Concert Band. Dr. Griffin formerly taught instrumental music in the Salt Lake City Public schools. He has served on the board of the Utah Music Educator's Association and was President of the Utah State Chapter of the Percussive Arts Society. 2004 Dennis' creative activities include the publication of two arrangements for Percussion Ensemble by HoneyRock Publications, Everett, Pennsylvania. During the past year he has performed with the Utah Symphony, Ballet West, and Utah Festival Opera Company orchestras. 2005 His creative activity was comprised of a new composition Timpromptu #1 for timpani and a recording with the Orchestra at Temple Square and the Mormon Tabernacle Choir.

Jon Gudmundson Jon Gudmundson is Director of Jazz Studies and Assistant Professor of Saxophone at Utah State University. He holds degrees from Western Washington University, Indiana University and the University of Northern Colorado, and has studied jazz with David Baker, Jerry Coker, and Chuck Israels, and saxophone with William Wicker, Julia Nolan and Roger Greenberg. Gudmundson has performed with Donald Harrison, the Harry James Band, David Young, Aaron Neville, Roberta Flack, Connie Haines, and many others. His performing credits also include appearances with The National Repertory Orchestra, The Cheyenne Symphony, The Bloomington (Indiana) Chamber Orchestra, and the Brevard Chamber Orchestra. Jon has served as clinician, adjudicator, featured soloist, and lecturer at conferences and festivals across North America, including World Saxophone Congresses in Montreal and Minneapolis, North American Saxophone Alliance Regional Conferences, International Association of Jazz Educators National Conferences in Toronto and Chicago, and the UNC/Greeley, Indiana State University, Bloomington (Indiana), Holyoke (Massachusetts), Head of the Lakes (University of Minnesota), Maine State, South Carolina All State, Florida Space Coast, and JazzBrevard Jazz Festivals. 2004 Professor Gudmundson‘s scholarly/creative activity for this reporting period (Fall Semester 2004 only) included his work as a performer and clinician with the Postmodern Jazz Quintet at Western Carolina University and Brevard College in Brevard, North Carolina. Just prior to the fall semester, he provided a performance at the World Saxophone Conference in Minneapolis, Minnesota. 2005 Professor Gudmundson‘s scholarly/creative activity included an article submitted for publication in the peer reviewed journal Teaching Music entitled ―It Ain‘t What you Say, But the Way That You Say It: Jazz Articulation for the Big Band.‖ He formed a professional saxophone quartet, ―Four,‖ which performed at BYU-Idaho, College of Southern Idaho, and with the Idaho Falls Symphony. This ensemble has been invited to perform at the World Saxophone Congress in Europe in 2006 (auditioned in 2005) and the Gene Harris Jazz Festival. He also performed and arranged six pieces for a CD recording of Way, Way East Bay. Professor Gudmundson also performed with Lydia Pense and Cold Blood at the Salt Lake City International Jazz Festival and with the Festival All-Star Big Band at Union Colony Civic Center, Greeley, CO. In addition, he performed in numerous concerts on a local and regional basis.

Maureen Hearns Maureen Hearns is director and clinical training coordinator for the Music Therapy program at Utah State University. She is a board certified music therapist and holds a Bachelor of Arts Degree in Music Theory and Composition and a Bachelor of Science Degree in Education from the University of Nevada, Las Vegas. She earned an equivalency degree in Music Therapy from Utah State University and a Master of

Arts degree from the University of Phoenix. Currently she is studying music psychotherapy with an emphasis in Guided Imagery and Music while she pursues a doctoral degree. Following a clinical internship in music therapy at Twin Valley Forensic Behavioral Health Unit in Columbus, Ohio, Maureen returned to Utah to establish a private practice in music therapy. She has provided music therapy services to patients at Utah State Hospital, the Silverado Alzheimer Residential Center in Salt Lake City, and individual clients throughout the greater Salt Lake area. Prior to serving in her current position at USU, she was a field supervisor for practicum students in the Music Therapy program and research assistant for music therapy research conducted at the Community Abuse Prevention Services Agency (CAPSA) in Logan, Utah. Maureen currently serves as President of the Utah Association of Music Therapists, and Affiliate Relations Committee representative for the Western Region of the American Music Therapy Association. She has recently been appointed to the Examination Committee of the Certification Board for Music Therapists (CBMT). In additional to her professional career as a music therapist, Maureen has been a public educator in Utah and Nevada for twenty-one years, and recently retired as a member of the Mormon Tabernacle Choir after having rendered over twenty years of volunteer service. 2005 Professor Hearns‘ scholarly/creative activity has included presentations at the World Congress of Music Therapy, Brisbane, Australia and at the American Music Therapy Association National Conference in Orlando, Florida. Her current research projects include various Music Therapy Applications With Battered and Abused Women.

Dennis Hirst Dennis Hirst draws upon diverse musical experiences in his position as Assistant Professor of Music at Utah State University. A successful performer on both the piano and the bassoon, Mr. Hirst holds degrees in Bassoon Performance from Bowling Green State University and in Piano Performance and Pedagogy from the University of Oklahoma. His bassoon teachers have included John Miller, Robert Barrus, Robert Moore, and Mitchell Morrison. Piano teachers have included Gary Amano, Betty Beecher, Edward McCallson, Virginia Marks, and Jane Magrath. Mr. Hirst places a strong emphasis on teaching in his career, and his private piano and bassoon students have won top honors at numerous competitions. During the 2001-2002 season, students of Mr. Hirst were featured soloists with both the Utah Valley Symphony and the Utah Symphony. As a clinician, Mr. Hirst has presented lectures and masterclasses throughout the country, including recent appearances at the World Piano Pedagogy Conference and the Las Vegas Music Festival. Mr. Hirst is also an active arts administrator. He currently serves as the Artistic and Administrative Director of the highly acclaimed Wassermann Festival, an annual week-long exploration of piano music. Under Mr. Hirst's leadership, the Wassermann Festival has featured internationally recognized concert pianists and pedagogues including Leon Fleisher, Stewart Gordon, Olga Kern, Antonio Pompa-Baldi, and Charles Rosen. 2004 Professor Hirst‘s scholarly/creative activities included a recital performance with Robert Stephenson, Principal Oboist with the Utah Symphony, and his work as artistic director of the Wassermann Festival that is gaining a national reputation as result of his work. Professor Hirst provided a masterclass presentation for the 2004 Gina Bachauer International Piano Festival in Salt Lake City as well as a presentation for the Salt Lake Chapter of the Utah Music Teachers Association. In addition, he co-authored an article for the Polyphony Column in American Music Teacher Magazine. 2005 His scholarly/creative activity has also been excellent. He completed a score and a new set of parts for the Concerto Concertant No. 1 in F Major by Christian Ludwig Dieter. This work was originally printed

between 1790 and 1807 and the manuscript was lost. A Paris museum had a set of parts from the original printing in its collection and working from these parts he created a new score and set of parts for performance and future publication. The work was premiered by the USU Symphony Orchestra and was performed by Professor Hirst and John Miller, Principal Bassoonist of the Minnesota Orchestra. Professor Hirst‘s creative activity also includes his work as director of the Wassermann Festival. He has researched artists and piano pedagogues and has attended performances throughout the country in developing this year‘s world-class festival. His guest artists include Alexander Kobrin, Van Cliburn International Piano Competition Gold Medalist, Spencer Myer, Cleveland International Piano Competition Laureate, and Krystian Zimerman, widely regarded as one of the world‘s greatest pianists.

Lynn Jemison-Keisker Lynn Jemison-Keisker is Associate Professor and Director of Opera Theatre at Utah State University. She is a coach-accompanist, conductor and administrator who has adjudicated for the MET, NATS, Birmingham and Denver Lyric Opera competitions. She is currently Chair of the Culture Committee for Utah-Bolivia Partners of the Americas as well as secretary for the organization. Dr. Keisker is a member of the Temple Square Performances Advisory Board in Salt Lake City and a past member of the MTNA National Steering Committee for Ensemble Pianists. She has recently been awarded grants for concerts, opera performances, and master classes in England, Guatemala, El Salvador, and Bolivia. She and her husband, Richard Keisker, organize collaborative faculty and student international performance tours, including grant funding. Dr. Keisker continues to be a guest presenter for the Utah Symphony and Opera, opera preview series, as well as for national organizations such as the National Teachers of Singing in collaboration with faculty colleagues. From 2002–2004, Dr. Keisker was also Music Administrator, Principal Coach for Utah Festival Opera Company (Logan.) where she auditioned over 850 singers annually with Founder and General Director, Michael Ballam. She has been on the music staff of Seattle Opera and the Northwest Wagner Festival, Opera San Jose, Utah Opera, Canada Opera Piccola, San Francisco Opera‘s Western Opera Theatre, Ohio Light Opera, West Bay Opera, Natchez Opera Festival, Pensacola Opera, the Tanglewood Summer Festival, the University of Washington, San Jose State University, and Louisiana State University. She holds Bachelor and Master of Music degrees in piano and accompanying from the College-Conservatory of Music of the University of Cincinnati and a Doctorate of Musical Arts degree in accompanying from the University of Southern California. While in Los Angeles, she was a student of the renowned artists, Gwendolyn Koldofsky, Brooks Smith, and Malcolm Hamilton. Dr. Keisker has also played for master classes for such notables as Gregor Piatigorsky, Phyllis Curtin, Elly Ameling, Peter Schreier, Marcial Singher, Hans Hotter, and Gerard Souzay. Dr. Keisker currently appears in recital, teaches master classes and adjudicates as time permits. She has performed with international artists Cynthia Lawrence, Vladimir Grishko, Robert McFarland, Pamela Hinchman, and Chinese erhu virtuoso, Xe Ku. Upcoming performances include recitals with tenor, Stanford Olsen, soprano, Joy McIntyre, and bass, Daniel Cole. Dr. Keisker and her husband will be performing with faculty and students in the Teatro Nacional de Santa Ana ( El Salvador) and venues in La Antigua Guatemala on tour in May 2006. 2004 Professor Keisker‘s creative activities included numerous performances and masterclasses including a recital with renowned soprano Pamela Hincham at the University of Kansas at Lawrence and masterclass and performances in La Antigua, Guatemala sponsored by El Proyecto Cultural El Sition, El Colegio Colonial Bilingue, and La Orquestina de la Merced of La Antigua, Guatemala. In addition she was artistic director for the Utah Festival Opera Company the 2004 summer productions. 2005

Her creative activities included her performances as a collaborative artist with Leslie Timmons and Nicholas Morrison in El Salvador and during other concerts and masterclasses with renowned guest artists Paul Sperry, Joy McIntyre and Marni Nixon.

Rebecca McFaul Originally from Wisconsin, violinist Rebecca McFaul joined the string faculty of The Caine School of the Arts at Utah State University in 2002. She enjoys a diverse and exciting career as a chamber musician, teacher, and soloist on the national and international stage. She has performed in the United States, Argentina, Austria, Bosnia-Herzogovina, Brazil, Canada, The Czech Republic, France, Germany, Israel, Italy, Panama, Slovenia, Uruguay, and The Republic of Yugoslavia. Ms. McFaul received a B.M. in violin performance from the Oberlin Conservatory, where she was a student of Marilyn MacDonald. She continued her studies earning a M.M. in violin performance from Northwestern University studying violin with Gerardo Ribeiro, chamber music with Shmuel Ashkenasi and Marc Johnson of the Vermeer Quartet, and orchestral literature as a member of the Chicago Civic Orchestra under the batons of such renowned conductors as Daniel Barenboim, Pierre Boulez, Michael TilsonThomas, and Zubin Mehta. After graduating from Northwestern, Ms. McFaul co-founded the Fry Street Quartet and soon received a ―Rural Residency‖ grant from the National Endowment for the Arts, which took the quartet to Hickory, North Carolina. The residency in Hickory allowed the quartet time to rehearse and perform extensively. The quartet gave 80 educational concerts in the Unifour area in its first season alone, won both the Millennium Grand Prize at the Fischoff National Chamber Music Competition, the first prize at the Chamber Music Yellow Springs competition, and meanwhile grew the local chamber music audience from 30 to 300. It was during this period that the quartet traveled to Jerusalem to perform at the Jerusalem Music Center and study with Isaac Stern. Not long after, Mr. Stern invited the quartet to make their Carnegie Hall debut. Broadening her experiences and musical career as a freelance artist in Chicago, Rebecca was a member of Corky Siegel‘s Chamber Blues (which toured internationally and released an album on the Gadfly label), the Gabriel Piano Quintet, as well as many other groups on the Chicago scene, from period instrument to new music ensembles. "The broad scope of my experiences makes me uniquely qualified to prepare students for careers in a quickly changing world. I value the depth of tradition and profound commitment to and love of music shown to me by my mentors. I hope to pass on to my students as many of their gifts to me as possible."

Nicholas Morrison Nicholas Morrison is Professor of Music and Associate Director of Bands in the Music Department at Utah State University. His teaching responsibilities include the clarinet studio, chamber music and symphonic band. He also directs the Summer Music Clinic and the Summer Alumni Band. He has appeared as soloist with the Orchestre Philharmonique Ste. Trinité in Haiti, with the Notre Dame, New World, and Arcata String Quartets, and with the Utah Festival Opera Orchestra. He is frequently called upon as an adjudicator, clinician and guest conductor throughout the Intermountain region and has served as chair of the Research Committee and Editorial Board of the College Band Directors National Association. He has served as director of Utah State‘s Aggie Marching band and the Band of the Fighting Irish at the University of Notre Dame. In 2002 he was appointed to the Fulbright Senior Specialist roster of the U.S. Department of State and, in March 2003, he was named Creative Artist of the Year for the College of Humanities, Arts and Social Sciences at Utah State University.

He has received grant support from numerous sources, including the Utah Arts Council, the National Endowment for the Arts, the Utah Humanities Council, the Target Corporation, the United States Information Agency, the U. S. State Department, the Presser Foundation and the Marie Eccles Caine Foundation. He has performed as clarinetist with the South Bend, Tallahassee, Jacksonville and Utah Symphony Orchestras and the Utah Festival Opera Orchestra, and is a founding member of Logan Canyon Winds, USU‘s faculty wind quintet. As a member of ~AirFare~ flute-clarinet duo with flutist Leslie Timmons, he is on the Utah Arts Council‘s Artist-in-Education roster, the Utah Performing Arts Tour, and the American Cultural Specialists roster of the U.S. Department of State. He has premiered works by Libby Larsen, Keith Gates, Dennis Griffin and Philip Parker and currently serves as President of the Flute-Clarinet Duos Consortium, a group dedicated to the commissioning and presentation of new works for Flute-Clarinet Duo. He served the College of Humanities, Arts and Social Sciences as Associate Dean from 1999-2003, providing leadership in facilities and curricular planning for a School of the Arts—a project to raise funds for new facilities, remodeling, faculty and infrastructure for the arts at Utah State. Morrison holds degrees from the University of North Carolina-Chapel Hill, the University of Notre Dame, and Florida State University and has studied with Curtis Craver, Donald Oehler, Scott Bridges, Sidney Forrest, Freddy Arteel, John Bruce Yeh and Frank Kowalsky. 2004 Professor Morrison's scholarly/creative activity is largely comprised of his performances as a clarinetist. As a member of the flute/clarinet duo AirFare (w/Leslie Timmons), Morrison performed at ~AirFare~ Performance for Utah Flute Association, November 2004 ~AirFare~ Workshop performance, Chamber Music America Ensemble Residency Institute, Chicago, October 2004. ~AirFare~, Springville Art Museum series, February 2004. ~AirFare~ with Lynn Keisker,, USU Faculty Recital Series, February 2004. ~AirFare~ with Lynn Keisker, recital at El Sitio, Antigua, Guatemala, January 2004. ~AirFare~ potpourri recital at International Clarinet Association Clarinetfest, premiere of the flute/clarinet version of Françaix's Le colloque des deux perruches, July 2004. As a member of the Logan Canyon Winds, he performed at: Logan Canyon Winds, USU Faculty Recital Series, March 2004. Logan Canyon Winds, Mississippi State University Lyceum Series, March 2004. Professor Morrison also performed as guest clarinetist with the Utah Symphony Orchestra, the Grand Tetons Music Festival Orchestra, and as bass clarinetist with the Utah Festival Opera Orchestra. As a member of t he Logan Canyon Winds and ~AirFare~, he provided residencies with the Starkville, Mississippi Symphony , Nizhoni Bridges, Navajo Nation, Bluff, Utah and Springville and West High Schools. In addition, Professor Morrison ‗s publication entitled ―The Clarinet‖ was published in the Journal of the International Clarinet Association. 2005 His scholarly/creative activities were comprised of his performances in the clarinet flute duo AirFare in El Salvador, Idaho, North Carolina and Utah. Professor Morrison‘s service contributions included memberships on one tenure/promotion committee and one post-tenure review committee. He also chaired two tenure/promotion committees and served as a member of the music therapy search committee. Other departmental service included his directorships of

the USU Alumni Band and the Music Clinic String Teachers Workshop. Professor Morrison also serves as the Department‘s honors advisor.

Thomas P. Rohrer Thomas P. Rohrer is Director of Bands and Director of Music Education at Utah State University where he conducts the Wind Orchestra and the Aggie Marching Band as part of his leadership of a diverse collegiate band program and teacher training curriculum. Having established an international reputation as a conductor and clinician, he is Music Director and Conductor of the Salt Lake [Utah] Symphonic Winds (which performed at the 2006 MENC National Conference) and consistently receives high praise from colleagues and composers for meticulous preparation and insightful interpretation. A supporter of new music for winds and percussion, Dr. Rohrer conducted over ten premieres in the last five years and has himself composed seven original works for various ensembles, earning honors as a winner of the Dallas Wind Symphony's composition competition for his work, The Heart of It All for Brass Ensemble, completing three recent commissions (Synergy for Wind Ensemble, Transcontinental Union for Symphony Orchestra, and Molecula for Wind Ensemble), and receiving the international premiere of Excessive Force for Wind Ensemble. Under his leadership, the USU Wind Orchestra is held in high regard, twice receiving invitations to the College Band Directors National Association Regional Conference and hosting several noted artists, composers, and conductors. A frequent conductor and clinician throughout the United States and abroad, Dr. Rohrer is published in the Bulletin of the Council for Research in Music Education, UPDATE: Applications of Research in Music Education, Journal of Band Research, Instrumentalist, and several state professional journals, and he has presented at regional College Band Directors National Association and individual state conferences. Dr. Rohrer is cited numerous times for outstanding teaching, most recently as the Utah State University Music Department and Fine Arts Teacher of the Year. In addition, he was honored as a top-five finalist for the campus-wide Master Teacher Award at Bowling Green State University in 1997. He also held positions at Northern Arizona University and the University of Cincinnati, and his public school experience includes teaching instrumental music in the public schools of Southwest Ohio. A proponent of music education, Dr. Rohrer has visited hundreds of classrooms, and he maintains strong ties with pre-service and in-service teachers. Dr. Rohrer has degrees in music education and wind conducting from the University of Cincinnati CollegeConservatory of Music and a Ph.D. in music education from Florida State University. A member of Kappa Kappa Psi and Tau Beta Sigma—national band service organizations—and Phi Mu Alpha Sinfonia, his professional affiliations include Music Educators National Conference, the College Band Directors National Association, the National Band Association, the Conductors Guild, and the World Association of Symphonic Bands and Ensembles. 2004 Professor Rohrer‘s scholarly/creative activities included the publication of an article in the Instrumentalist a major professional refereed music periodical. In addition, his composition, ―Repeat Offender for Concert Band,‖ was selected as a winner by the Dallas Wind Orchestra Competition. His composition, ―Excessive Force for Wind Ensemble,‖ is currently being published by Cimarron Music and Productions, Irving, Texas. 2005 His scholarly/creative activities included an article accepted for publication in the peer-reviewed journal Instrumentalist entitled ―Some Important Safety Tips for Your Most Challenging Season.‖ He also authored and submitted an article entitled ―New Director of a Marching Band?‖ Professor Rohrer‘s other creative activities included two original compositions ―Centenario for Wind Ensemble‖ and ―Amiens: Fanfare for Brass Choir.‖ He also transcribed an original composition, ―Transcontinental Union for Wind Ensemble‖ which was commissioned by the Utah Division of Business and Economic Developments

International Business Development Office. Other creative activities included numerous performances as a guest conductor on a regional basis.

Bruce M. Saperston Bruce Saperston is an associate professor of music and head of the Department of Music at Utah State University. He was director of the Music Therapy Program at USU from 1987 to 1997. Prior to his academic appointment, Dr. Saperston practiced clinical music therapy for 16 years with various populations including those with autism, mental retardation, mental disorders, and sensory impairments. As a music therapy clinical training director, he supervised the music therapy clinical internships of 48 students. He is internationally renowned as a clinician, researcher, and educator and has provided presentations by invitation in Hong Kong, Japan, the United Kingdom and Denmark. In addition, Dr. Saperston has made numerous presentations at national and regional professional conferences and symposia. His publications include clinical articles and research, and he is the joint editor of a book entitled, The Art & Science of Music Therapy: A Handbook, which comprehensively documents international music therapy practices. He was awarded a U.S. Patent for his concept of Physiologically Interactive Music. A video documentary of his work, Music Therapy: Health Vibrations was produced by the National Association for Music Therapy (NAMT) as part of a national in-service program. Dr. Saperston was a member of the editorial board for the Journal of Music Therapy for 15 years and has served on the International Scientific Committee for the World Congress of Music Therapy, and the National Research Committee for the NAMT. He has served on the Disciplinary Review Board of The Certification Board for Music Therapists. He received the Betty Isem Howery Award of Recognition for Outstanding Contributions to the Western Region and Field of Music Therapy in 1997. Dr. Saperston has a BA in Music from the University of North Texas, and a Master's Degree and Ph.D. in Special Education at the University of Texas at Austin. He is a board-certified music therapist.

Eric Smigel Eric Smigel received his M.A. degree in music history and Ph.D. in historical musicology from the University of Southern California, where he twice earned departmental recognition for outstanding graduate. His dissertation concerns performance and aesthetic issues of avant-garde piano music in the 1950s. In Los Angeles, Eric taught music history at USC, served as a research assistant at the Getty Research Institute, provided pre-concert lectures for the Da Camera Society, worked as an educator for the International House of Blues Foundation, and was a docent at the Los Angeles County Museum of Art. Eric is a member of the American Musicological Society and the College Music Society, and he has published articles and reviews in the Journal of the American Musicological Society, American Music, and The World From Here: Treasures of the Great Libraries of Los Angeles. His primary research interest is 20thcentury music and its relation to the other arts. 2005 Professor Smigel‘s scholarly/creative activities included an article entitled ―Recital Hall of Cruelty: David Tudor, Antonian Artuad, and the New Music of the 1950s‖ which was accepted for publication in the peerreviewed journal Perspectives of New Music. He also presented papers at the Rocky Mountain Chapter meetings of the American Musicological Society at Northern Arizona University (―Music and Poetry of Changes: The New York School of Composers and Poets‖) and the College Music Society at the University of Colorado at Denver (―David Tudor‘s Seminars at Darmstadt‖). He provided CD liner notes for a recording project by the Fry Street Quartet and also provided program notes for their concert performances.

He received funding for a university New Faculty Research Grant in which he will be developing an interdisciplinary text comprised of a collection of writings by prominent modern painters, composers, and poets with an introduction and critical commentary. He collaborated with museum director Vicky Rowe to mount an interdisciplinary exhibit at the Nora Eccles Harrison Museum of Art called ―Sight & Sound: A Visual Metaphor.‖ He wrote a series of explanatory panels and provided recorded examples of compositions, which examine the historic and stylistic relationship between selected paintings and music.

Leslie Timmons Leslie Timmons is Associate Professor of Music in the Music Department at Utah State University. In addition to private instruction in the flute studio, she directs two university flute ensembles, coaches chamber music, and teaches elementary music education. She is curriculum specialist for the Cache Children's Choir, and coordinates summer Orff-Schulwerk teacher training workshops at USU. An active recitalist on both flute and recorder, she was a founding member of Utah‘s Musica Reservata early music ensemble, and has performed with Utah Symphony, Pacific Repertory Opera Orchestra, San Luis Obispo County Symphony, Lansing Symphony and the Utah Festival Opera Company and at conferences of Chamber Music America, National Flute Association and Utah Flute Association. Performance tours have taken her across the U.S., and to Haiti, El Salvador and Guatemala. She is a founding member of the Logan Canyon Winds, USU‘s faculty woodwind quintet, which has distinguished itself by commissioning unique works that are designed to involve young audience members in performance with professionals. In addition to touring, the group has performed at national conferences of the American Orff Schulwerk Association and Chamber Music America. As a member of ~AirFare~ flute-clarinet duo with clarinetist Nicholas Morrison, she is on the Utah Arts Council‘s Artist-in-Education roster and has toured under the auspices of the Utah Performing Arts Tour, as an American Cultural Specialist Abroad and as a representative of the U.S. Department of State. She has premiered works by Libby Larsen, Keith Gates, Dennis Griffin and Philip Parker and currently serves as Secretary of the Flute-Clarinet Duos Consortium, a group dedicated to the commissioning and presentation of new works for Flute-Clarinet Duo. With the support of artist grants from the Utah Arts Council, ~AirFare~ has just completed recording a CD of American works for flute and clarinet. She holds degrees in Flute Performance and Music Education from Michigan State University and received a Fulbright award to complete post-graduate work at the Orff Institute/Mozarteum in Salzburg, Austria. She has been a clinician at American Orff-Schulwerk Association, Organization of American Kodaly Educators, Music Educators National Conference, American Recorder Society and at other state and national conferences across the country, recently presenting sessions at the international congress on the recorder in the Netherlands. She has taught Orff certification courses in Michigan, Colorado, Alabama, Utah and California. She has been honored as Outstanding Music Educator by the Utah Music Educators Association. Leslie is currently serving on the boards of the American Recorder Society, Utah Flute Association, and as the University liaison for the Utah Chapter of the American Orff-Schulwerk Association. Following a term on the national board of trustees for the American Orff-Schulwerk Association, she continued as advisor in the area of professional development.

2004 Leslie's scholarly/creative activities include flute performance and presentations/workshops. She is an excellent flutist and performs regularly as a soloist and member of various ensembles included performances in El Sitio, Antgua Guatemala, A premier of Jean Fracaix ―Conversation Between Two Parakeets,‖ at the International Clarient Association Conference, Orchestra flutist at the Utah Music Festival, in Park City, and a performance at the Chamber Music America Conference in Chicago, Illinois.

As a clinician/presenter, she served as a panelist for A Meeting of the Minds, a session at the American Orff -Schulwerk Association, National Conference, and provided residencies at West High School, Salt Lake City, Utah, Navajo Nation, Bluff Utah, Springville High School in Springville, Utah. 2005 Her scholarly/creative activities included flute performances and a publication as well as professional workshops and presentations. These activities are listed chronologically below:          Soloist with Musica Reservata, Logan UT – May 15, 2005 Featured clinician – 5 hour workshop for Utah Chapter of the American Recorder Society – June 4, 2005 ~AirFare~ performed concerts and outreach in San Salvador, El Salvador – July 23-28, 2005 Invited presenter - Two sessions for the American Recorder Society Festival and Conference, Denver, CO) - July 28-31, 2005 Flute soloist and outreach clinician with Quintessential for Season Concert Series, Grace ID – Sept 9/10, 2005 Featured clinician – 5-hour workshop for Sierra Nevada Chapter of the American Orff-Schulwerk Association, Reno, NV– Sept. 24, 2005 Featured clinician – 5-hour workshop for Rocky Mountain Chapter of the American OrffSchulwerk Association, Denver, CO – Oct. 8, 2005 Logan Canyon Winds performance, Logan, UT – Nov. 18, 2005 Featured clinician – 3 presentations for BYU-I Music Education classes, Rexburg, ID – Dec. 1, 2005

Publication  Article and recording in ―Der Pyramide‖, Dutch National Music Education Journal targeting classroom educators.


Extension/service productivity

The Music Department provides a large number of services to the general community through outreach and community music programs. In addition, faculty serve in a variety of capacities in major professional associations at state, regional, and national levels. Representative services provided by the programs of the Department as well as individual faculty members are delineated below.

Cultural Life of the Community The Music Department provides the following opportunities to the larger community for listening or participating in the following: 1) University bands, orchestras, choirs, and ensembles 2) Faculty recitals 3) Guest artists and masterclasses 4) Wassermann Festival 5) Northern Utah Choral Society 6) Cache Chamber Orchestra 7) USU Opera Theatre 8) Summer Music Clinic 9) Youth Conservatory Program 10) Cache Children‘s Choir

Most of the programs listed above provide outreach activities to pre-university age students. For example, the Piano Program‘s Youth Conservatory provides music instruction to some 300 Cache Valley youth. Music Therapy Services: 1) Through supervised clinical practicum courses, the music department provides therapeutic services to individuals with mental, emotional, and physical disabilities in community programs which include: a) Citizens Against Physical and Sexual Abuse - CAPSA b) Family Intervention Program c) Public Elementary Schools including Adams, River Heights, & Hillcrest d) Logan Regional Hospital e) Bear River Mental Health Center f) Sunshine Terrace Nursing Home g) Adult Day-Care Center located at Sunshine Terrace Nursing Home 2) Graduates of the music therapy program are serving populations with disabilities on a statewide, regional, and national basis. 3) Contributions made by music therapy faculty include: a) Clinical work in various community settings b) Scholarly work including research and publications related to state of the art clinical applications. c) d) Presentations and workshops at state, regional, national, and international professional conferences. Professional consultation and collaboration on an international basis.

Music Department faculty serve in the following capacities. Music Teachers National Association (MTNA) Utah Festival Opera: Opera For Children By Children Programs Sept 2006 through April 2007 throughout the State of Utah inservice programs in schools Cache Valley Center for the Arts Utah High School for the Performing Arts Heritage Arts Foundation - Tuacahn Children of Israel Foundation Utah Arts Council Heritage Arts Foundation Advisory Board: Art Works for Kids Conductors Guild College Music Society Music Educators National Conference (MENC) Mel Bay Publications Advisory Board National Association of Teachers of Singing (NATS) American String Teacher‘s National Association (ASTA) Music Director, Northern Utah Choral Society American Choral Directors Association Dean's Advisory Council for Promotion and Tenure President, Utah Association of Music Therapists Examination Committee, Certification Board for Music Therapists Assembly Delegate, American Music Therapy Association Affiliate Relations Committee Chair, Western Region American Music Therapy Association (WRAMTA) Executive Board Member, Parliamentarian, WRAMTA Advisor, Northern Chapter of the Utah Music Teachers Association Metropolitan Opera Utah District, board member (Salt Lake City)

Temple Square Performances, advisory committee member (Salt Lake City) Utah-Bolivia Partners of the Americas, co-chair culture and secretary for the organization Opera America College Music Society (CMS) Robins Awards Talent Selection Committee International Clarinet Association Music Educators National Conference Utah Music Educators Association (UMEA) National Association of College Wind and Percussion Instructors College Band Directors National Association Logan Rotary College Band Directors National Association National Band Association World Association of Symphonic Bands and Ensembles Board of Utah Flute Association Board of Utah Chapter, American Orff-Schulwerk Association (AOSA) Search committee for Executive Director of American Orff-Schulwerk Association National Flute Association (NFA) Utah Flute Association (UFA) American Orff-Schulwerk Association (AOSA) Utah Music Educator‘s Association (UMEA) Teachers of Elementary Classroom Music (TECM) American Recorder Society (ARS) American Recorder Teacher‘s Association (ARTA) National Association of Wind and Percussion Instructors (NACWAPI) Chamber Music America (CMA)

4. Analysis and assessment As stated by the external reviewers of the National Association of Schools of Music as a result of their review in 2001, the Music Department is comprised of ―a stable, dedicated, and competent faculty with good credentials and backgrounds in their respective fields. ― In addition, the NASM representatives stated that the faculty members have established ―a good relationship with the community, diverse community outreach programs, and professional service programs of high quality.‖ Also regarding our faculty, the NASM report stated ―Excellent faculty contributions through performance, conducting, workshop presentations, clinics and professional leadership, research, and publishing.‖


Challenges and recommendations

The NASM reaccreditation teach cited the following challenges and needs for improvement. First, they stated that ―Salaries are low by national, university and college averages.‖ Second, regarding faculty loads and additional positions, ―Faculty loads are excessive by university standards when both course loads and individual instruction are considered. Additional faculty are needed with specific expertise (historian) and to alleviate excessive load problems.‖ While the Music Department more recently was able to hire an historian, we have lost three positions due to severe budget cuts. The Department has the immediate need to fill these additional positions in order to be at the same level as when NASM indicated the need for additional faculty positions.

D. Support Services
1 Data i. Staff

Staff The Music Department currently has three full-time office staff members. The three full time staff members are on contract/salary with one Accountant I, one Staff Assistant and the third as a Staff Assistant IV. Each assists the department head in various tasks as needed to make the Department presentable and user friendly to faculty, students, and the community at large. Each of them also provide routine secretarial support to the faculty (e.g., type correspondence, tests, and syllabi; file; answer telephone and route calls; copy documents; etc.) as requested. Each is housed in separate areas of the Music Department. There is no community area for the staff. Staff assignments are as follows: Accountant I has the following specific responsibilities: Maintain financial records Design and implement accurate accounting procedures Receive and record all receipts, payments, donations, etc. Review monthly reports and identify all expenditures Monitor and reconcile grant accounts Coordinate key requests Schedule practice rooms Assign lockers Staff Assistant II has the following specific responsibilities: Type requisitions, check requests, travel authorizations, etc. Maintain annual and sick leave for faculty and staff Coordinate student recitals Coordinate Annual Awards and Ice Cream Social Coordinate faculty textbook orders Schedule annual scholarship auditions Schedule committee meetings Staff Assistant IV has the following responsibilities Process Banner employment forms Schedule rooms and facilities Coordinate department head‘s schedule Type correspondence Coordinate scholarships Supervise office staff and student workers ii. Operating budgets Finances 2 Sources of funding Funding sources consist of the following: a. State appropriations Salaries $1,389,672 Operations Instrument repair and maintenance Band operation Performance Group Travel Band scholarships b. On-campus sources Associated Students of USU (ASUSU) Performance Fees May be used for expenses related to all student performances including repair & maintenance

85,766 6,577 16,975 7,017 41,939


of instrument/equipment College of HASS Wassermann Festival Undergraduate Teaching Fellows (UGTF) Assistance for undergraduate TAs Central Administration-bottle neck fees Investment Income Scholarships Development Accounts VP Student Services for Athletic Band Expenses (uniform-$7K/scholarships-$9K) Athletics (periodically)-this year c. Department fees Student Course/Lab Fees-May be used for materials related to instruction including classroom equipment/supplies Locker Rental (repair/replacement of lockers) Piano Rental (piano repair/maintenance) Organ Rental (organ repair/maintenance) Development efforts (e.g., public/foundation grants and private gifts) Ticket sales 9,135 Goes into area development accounts for expenses Tuition waivers/University--96 @ $973= Youth Conservatory (YC) Registration A portion of this funding is used for piano scholarships in addition to the operation of YC

10,000 11,000 6,000 14,500 2,000 16,000



1,300 5,400 315 200,000


e. f. g.

93,408 51,000

1 Information Concerning Music Department Finances Financial records in the Music Department are kept by the Accountant I under the direction of the department head. Expenditures are made by means of Purchase Orders, Requisitions, Check Requests, Temporary Salary Adjustment Forms, Employment Action Forms, and other such authorizations. All expenditures require the authorization of the department head. Policies on refunds of tuition and other fees are set by the central administration and are documented in the Undergraduate Catalog and Schedule Bulletins. All refunds must be applied for at the Cashiers Office. Students with financial aid need approval from the Financial Aid Office in order to receive a refund. Complete withdrawals must be approved by the Financial Aid Office (for aid recipients) or the Office of Advising and Transition Services (for students without aid). The course fee drop period is 100% during the first three weeks of class and nothing thereafter without consent of the Department.

3 Developing the Music Department E & G Budget Procedures for developing the Music Department E & G Budget including operations and faculty salaries involve the university and college administrations, and the department head and are decentralized to the Department level when it comes to determining actual expenditures. The needs identified by the faculty and the department head are communicated to the dean of the College of Humanities, Arts & Social Sciences (HASS). The dean incorporates the Department needs within the priorities of the College and communicates them to the central administration who seeks funding from the state legislature.

Within the Music Department, faculty and area budgets are routinely provided. Decisions on the distribution of funds are made by the department head. Requests for funds in addition to those allocated to the Music Department in the general budget process are frequently made on behalf of the faculty to the dean of the College of HASS. In recent years, these requests have been to fill important vacant positions lost through budget cuts. The Department is extremely limited in its ability to fund faculty travel and the repair and maintenance of computer technology. Another aspect of Music Department financial planning has been the recognition that state appropriations are unlikely to supply our needs in the future. There has been a conscious effort by the department head and faculty to establish and cultivate alternative sources of funding both inside and outside the University. The most successful part of the Department's financial planning is a dramatic increase in funds from outside the Department in recent years. These funds have included the ASUSU Performance Fees, course/lab fees, and that portion of the private instruction fees which may be used for operations related to private instruction. Without these fees, the Department would be in a very dangerous financial condition. For example, the ASUSU Performance Fee is the Department‘s only financial resource for providing funding to each of the performance areas in the Department. 4 Development Funding While funding from development activities fluctuates year by year, this funding continues to increase. Private and foundation contributions to the Department have increased from $55,607 in 1993-94 to $52,000 in the current year. Development efforts include the following fund-raising efforts and the amounts estimated for 2006-07. Foundation Support Public Grants Private Gifts Ticket Sales $200,000 30,000 10,000 12,000

5. Areas for Improvement In order to adequately meet the Department's needs, funding increases are needed to improve faculty salaries and opportunities for faculty to travel, to upgrade and maintain computer technology; purchase, repair and maintain musical instruments; and to enhance music library holdings. In addition, new faculty positions are needed in meeting the educational needs of our students as well as to reduce excessive faculty loads. Student scholarships are needed to attract out of state students. While the Department receives 96 tuition waivers in support of performing ensembles, during the past three years, these are restricted to instate students. Obviously this greatly reduces the Department‘s ability to recruit talented students on a regional, national, and international basis even though such students are attracted to our program. iii. Facilities 1. Physical Plant The Department of Music occupies the southwest portion of the Daryl Chase Fine Arts Center, which was completed and first occupied in 1967. It is an excellent facility, well-built, adequately lighted, and well maintained. The temperature is generally comfortable and appropriate for maintenance of instruments but communications are necessary on a periodic basis to insure that temperatures do not fluctuate excessively during holiday breaks. The walls of the Fine Arts Center are composed of double thick cinder block with asbestos insulation. Heating ducts are baffled and doors are of solid wood. They seal at the bottom when closed. All of these features help to make the rooms acoustically appropriate.

The facility contains the following rooms: a. Department Head & Office Staff The Administrative Offices are split into two general areas with no common work area. The office in FA 107/109 houses the department head and one staff assistant. The Student Services Office (FA 102) houses a staff assistant, part-time office worker, and student support staff. The other Band Office (FA 104C) is located on the other side of the large rehearsal room (FA 104). A copy room is located across from the department heads office and is used by the entire department. b. Faculty There are 23 faculty studio/offices. Each office is equipped with a piano (two offices--piano professors-have two grand pianos in each office), sound system (i.e., tape deck, CD player, etc.), computer, printer (or access to a printer), and office furniture (i.e., desk, chair, file cabinets, etc.). For a breakdown of specific computer equipment, (see Section F). In addition, the Department has 11 small studio offices (three in FA and eight in University Reserve [UR]) which are used by parttime applied teachers and have pianos in each room. Concert and Recital Halls The new Manon Caine Russell Kathryn Caine Wanlass Performance Hall is a world-class recital hall with a seating capacity of 400. There is one main concert hall (the Kent Concert Hall) with a seating capacity of 2,238. The Music Department also has access to the Morgan Theatre (seating 750) which is located in the Theatre Department portion of the Fine Arts Center. The Twain Tippetts Art Gallery, in the middle of the building, may also be used as a recital hall. In addition to these locations, concerts and recitals are also scheduled in the auditorium of the Eccles Conference Center (seating 400) located west of the Chase Fine Arts complex. Rehearsal Halls and Storage Facilities 1 Rehearsal hall (FA 104) used for band, orchestra, jazz ensemble, and chamber orchestra rehearsals. This area is also used for student recitals and as a classroom. It is equipped with a sound system, a grand piano, chairs and stands. 1 Band/orchestra library (FA 113) 2 Percussion storage rooms (FA 104 B & back of FA 104) 4 Percussion storage/practice rooms (108 C, 108 D, 110, 112) 1 Jazz ensemble equipment storage room (104 A) 1 Music supply and instrument storage room--instruments owned by the Department, instrument maintenance and repair equipment (Dungeon). 2 Instrument storage rooms (FA 111 and Loading Dock)--student instrument storage. 1 Choral rehearsal hall (FA 214) which seats 180. This room is also used as a classroom and is equipped with a sound system and a grand piano. 1 Choral library (FA 214 A) 3 Ensemble rehearsal rooms (FA 116, 118, 123). These are also used as classrooms with a sound system and pianos. These rooms each seat 16 comfortably. Classrooms All classrooms have sound systems (i.e., CD player, tape deck, amplifier, etc.) and pianos. 3 Classrooms, each containing desks/chairs, blackboards, and a piano (FA 218, 220, & 222). (Note: 220 & 222 are considered ―university scheduled‖ and the Registrar‘s Office schedules these rooms.) 1 Group piano classroom containing 16 electronic pianos and harpsichord (FA 216). Practice Rooms





19 6 2 1 g.

Practice rooms with pianos. Practice rooms without pianos. Percussion practice rooms, 1 containing timpani, 1 containing marimba. Organ practice room

Music Technology Classroom Contains 15 work stations which include computers and keyboards. Music Listening Facilities Music listening facilities are in the Sci-Tech and Merrill Libraries (see G Library) Other rooms include appropriate restroom and custodial facilities


i. 2.

Instruments a.Organs 1 Holtkamp Three Manual Organ which has 3,000 pipes in the Kent Concert Hall. 1 Large Baroque Bigelow Tracker organ-208 2 Rodgers Electronic organs-205 & 202I 1 Rodgers Electronic Organ-216B 1 Organ-210 b.Pianos 11 Grand Pianos c.Woodwind 7 Piccolos-C 1 Piccolos-Db 10 Flutes 10 Oboes 2 English Horn 8 Bassoons 8 Alto Saxophones 7 Tenor Saxophones d.Brass 6 2 8 1 2 2 1 4 8


Upright Pianos

2 6 6 1 7 1 4 1

Clarinets-Eb Clarinets-Bb Clarinets-A Clarinets-Alto Clarinets-Bass Clarinets-Contrabass Baritone Saxophones Saxophone, Soprano (lost)

Bb Trumpets D Trumpet Cornets Fluglehorn Trumpets in C Trumpets in Eb Piccolo Trumpet Miraphones (concert tubas) Convertible Tubas

3 3 13 12 8 3 11 21

Alto Horns in F Alto Horns in Eb Marching Baritones French Horns Sousaphones Euphoniums Mellophones Trombones

e. Percussion Marching Battery 5 Marching Bass Drums 3 Marching Tenor Drums Concert Percussion 5 Marimbas 2 Vibraphones (plus one barely serviceable) 1 Xylophone (plus one barely serviceable) 1 set Orchestra Bells 2 sets of Chimes Crotales


Field Snare Drums

2 sets of Timpani (plus one barely serviceable) 1 pair of Timpani 2 Concert Bass Drums 3 Concert Snare Drums 2 sets of Concert Tom-Toms (4 each) 1 pair of Congas 1 pair of Timbales 2 pairs of Bongos Misc. Cymbals, temple blocks, wood blocks, etc. f. String Instruments 4 Guitars (Music Therapy) 1 Lute 4 Cello 7 Viola 1 Viola-Lost g.Music Therapy Instruments Adaptive Instruments and Accessories 3 Monster Pics (medium) 3 Monster Pics (thin) 1 2-Headed Mallet 1 T Mallet 1 Mallet with Velcro Hand Strap 3 E-Z Chords for Guitar Recorders and Wind Instruments 3 Aulos Soprano 4 Suzuki Recorders 12 Kazoos 2 Easy Play Harmonicas with 1 Video Rhythm Instruments 8 pair Red Rhythm Sticks 4 pair Blue Rhythm Sticks 3 pair Natural Rhythm Sticks 5 pair Claves 2 Guiro and Playing Sticks 2 Cabasas (regular size) 2 Cabasas (mini) 1 pair Castanets 1 Bird Calls 1 Rainstick 1 Small Temple Blocks 13 Egg Shakers 3.5 pair Sand Blocks 8 pair Maracas 1 Red Tambourine Jingle Stick 1 Wood Block 1 pair Finger Cymbals 1 6‖ Pre-tuned Tambourine 4 10‖ Double Jingle Pre-tuned Tambourines 1 10‖ Single Row (no head) Tambourine 1 Jingle Stick

1 4 2 1 6

Guitar (Guitar Program) String Bass String Bass-Lost Violin-Lost Violin

Drums 1 10‖ Paddle drum with mallet 1 12‖ Paddle drum with mallet 6 12‖ Hand Drums 1 9-1/2‖ Hand Drum 1 7‖ Hand Drum, Red 1 14‖ Hand Drum 1 16‖ Hand Drum 1 24‖ Hand Drum 1 12‖ Fish Head Ocean Drum 1 Bongo Drum 1 Slit Drum 1 Remo Floor Tom 1 Large Remo Tubano 1 Set Standing Bass Drums with Tunable Heads 1 12‖ Weather Master Hand Drum, Yellow Mallets 4 Wooden (small) 1 Wooden (medium) 2 Contra Bass Beaters 2 Timpani Mallets 13 Yarn Heads/black/wood handle 2 Double-headed felt/wood 1 White, non Ludwig, double-headed 1 pair Jazz Brushes 1 Felt Head Sch7 1 Felt Head Sch 50 1 Felt Head Sch 5 3 Small plastic heads 2 Beige, plastic handle, rubber head 1 Small plastic red-headed 1 pair Traditional drum sticks Tuned Instruments 2 2-Octave Chromatic Suzuki Tone Chimes G4-G6

1 Cow Bell 1 Triangle (Large) with Beater 1 Triangle (Medium) with Beater 1 Chime Tree (brass bar with oak table stand) 1 Agogo (black) 2 Gourd tone blocks

1 Double Basket Maraca

1 pair Jingle Taps

1 Purple Shaker with hand grasp 1 Green Jingle with hand grasp 1 Gong Electronic Equipment Stringed Instruments 3 Yamaha PSR-6 Electronic Keyboards 2 Autoharps 2 Sony Portable CD/Cassette Players 1 Guitar - Steel String 1 RCA Portable Dual Cassette Player 2 Acoustic/Electric Guitars (Classical) 1 Sanyo Dual Cassette Player 3 Classical Guitars 1 Samsung 8 mm Video Camera With Tripod, Case, 2 Batteries 2 Omnichords with AC Adapter h.

1 2-Octave Resonator Bells 1 Sonar Contra Bass Rosewood Resonator Bell (C) 1 Sonar Deep Bass Rosewood Resonator Bell (C) 1 Sonar Deep Bass Rosewood Resonator Bell (D) 1 Sonar Deep Bass Rosewood Resonator Bell (E) |1 Sonar Deep Bass Metallaphone with Moveable 3 Clave tone blocks Stand 1 Sonar Deep Tenor-Alto Metallaphone with 1 Single Basket Maraca Moveable Stand 1 Sonar Deep Tenor-Alto Rosewood Xylophone 2 Wrist Bells with Moveable Stand 1 Soprano Rosewood Xylophone C‖-F‖ 1 Tenor-Alto Glockenspiel C‖-C‖

Summary Instruments for group woodwinds, brass and percussion classes are in short supply. Through United Musical Instrumental Company (UMI), USU in conjunction with Summerhays Music, benefits from the College Sampler Program for undergraduate music education majors. UMI gives USU wind and percussion instruments for each semester; and in turn, we allow Summerhays Music the opportunity to provide an instrumental music workshop for our majors. These workshops provide music education majors with all of the pertinent information on purchasing and renting instruments for their future band programs. Courses can be taught only if students double up on the use of instruments. Larger, more expensive woodwind and brass instruments for use in bands and orchestra are likewise inadequate in number and condition. Many instruments are more than 30 years old.


Instrument Storage Lockers 47 Guitar 14 Cello 8 String Bass 72 Violin, Viola, Flute, Oboe 45 Trumpet, Alto Sax 42 Trombone, Tenor Sax, French Horn, Euphonium 8 Mellophone 42 Tuba, Baritone, Sousaphone 52 Small/Medium Open Storage 6 Snare Drum 11 Large Open Storage 5 Music therapy multi-purpose lockers for practicum instruments Major Percussion Storage Lockers are included in practice room

4. Computers As previously mentioned, all faculty and staff have individual computers. Department faculty have access to printers in individual offices as well as three department laser printers placed in the Band Office, Youth Conservatory Office and Main Office. The Department owns four computers which are primarily used for digitizing sound recordings. Students have access to computers at 10 university computer labs (the closest of which is in the UR Building) across campus.

5. Funding Funding for equipment and musical instruments is obtained from a variety of resources depending upon the intent of the specific purchase. For example, musical instruments used for public performances may be purchased and repaired through the student performance fees and the Department‘s repair and maintenance budget. Capital purchases may be made through the Department‘s E & G Operating allocation and depending upon the use of such equipment may also be paid for through private instruction and course/lab and locker fees. Faculty are responsible for overseeing the needs in their areas for the purchase, repair and maintenance of instruments and equipment. The department head works with area heads in identifying funding sources and prioritizing these needs within the overall needs of the Department. Facility renovations have been funded in the past through a variety of resources again dependent upon the nature of the renovation. For example, the addition of practice rooms or studios has received partial funding through the maintenance portion of the private instruction fees. Also the College Office has provided funding for specific renovation projects. 6. Maintenance, Security & Safety The building is kept clean and attractive by a staff of custodians who maintain it year round. Repairs on the building are made by Facilities as needed. The Music Department head participates in an annual review of the Music Wing by the directors of USU Facilities. Hours for the Music Wing are from 6:30 a.m. to 10 p.m. Monday through Friday and from 8 a.m. until 5 p.m. on Saturdays. The building is also available for special performances evenings and weekends. The Department employs a part-time staff member for evening and Saturday security purposes and the University Police routinely provide security checks. All of the instructional facilities are accessible, safe, and secure and meet the standards of local fire and health codes. Campus policies and procedures related to fire hazards and other safety issues relevant to physical facilities is provided in the Facilities Handbook (see Appendix E) and/or on the web at Safety issues related to the environment health and office safety can be found at Security concerns and other matters of security can be found at

2 Analysis and assessment Areas for Improvement a Facilities As previously mentioned, the Fine Arts Center was built in 1967. At that time, there were eight faculty members and approximately sixty music majors. The Department has not been able to keep up with the demands for additional space imposed by the extensive growth of the program, although it is proud of the progress that has been made in improving the facilities in recent years. Through creative planning and assistance from the College Office, the following renovations were accomplished over the past six years: Five new faculty studio/offices New music technology classroom with 15 music workstations in UR Bldg. Storage for band and orchestra instruments 72 new lockers in FA 111 78 new lockers on Loading Dock for 18 new guitar lockers

New copy room which also provided space for an additional practice room The existing space in the Music Wing is now being used to the maximum extent possible, however, there is a great need for additional space in order to meet current program requirements. The need is great because: 1) Classroom space is no longer adequate to meet enrollment increases--at least three new large classrooms are needed. 2) Practice rooms and rehearsal spaces are insufficient--at least 10 more practice rooms and one more large rehearsal hall, and three medium sized ensemble rehearsal rooms are needed. 3) A minimum of four new faculty office/studios are needed immediately 4) Administrative offices are currently located adjacent to major rehearsal area and practice rooms. As a result, the environment is not conducive to performing administrative tasks--a new suite of administrative offices to be configured in an appropriate manner is needed for efficiency. 5) There is currently no conference room for Music Department meetings--a conference room is highly desirable. 6) The Department would like to establish an on-campus music therapy clinic which would serve the needs of our students and individuals from the community with disabilities as well as generate revenue for the Music Therapy Program. b. Equipment 1) Lockers There is the need to further secure the instruments housed in the two major locker spaces in the Music Wing. Currently, there is no means of securing the Loading Dock space and correction of this problem must await the building of additional facilities. A more immediate solution is available for the instruments stored in Room 111. This room is currently in use for school-owned woodwinds, concert brass, and student instruments. These instruments are stored in open shelving that allows theft and moving of instruments without the knowledge of the owners. To preserve our current inventory from damage and theft--as well as to secure students‘ instruments that are open to the same treatment--a design was submitted to the university‘s large projects coordinator, Dave Peterson. Total bid costs for this project is $13,274. This project will be funded through Department Locker Fees, E & G, Private Instruction, and Performance Fees. Implementation of this project will begin at the end of Spring Semester 2001. 2) Technology Needs There is an immediate need to increase the number of computer workstations in the music technology classroom in order to increase enrollments and provide space essential for homework assignments. The technology classroom currently houses 15 workstations, however, space is available to accommodate 20 such stations. Funding for these additional workstations will be shared between the Music Department and Computer Services and these workstations will be added by Fall Semester 2001. The Department is also working with Robert Murdock, Deputy Director-Libraries and Information Service, to provide keyboards and other music technology to 10 computer workstations in the Merrill Library. This would assist in increasing workstation access for students. 3) Additional music listening stations will be provided in the Merrill Library by Fall 2001 (see Section G, Library). Musical Instruments 4) Pianos The Department needs funding for the purchase, repair, and maintenance of pianos. The following plan has been presented by the piano faculty.

Progress Report on Proposal to Replace and Restore USU Music Department Pianos Fall 2000 Stage 1 Original Estimated cost = $350,000 Remaining Estimated cost = $320,000 Status: 10% complete

Original Proposal: Replace existing piano major practice room grand pianos with Steinways. 8 model S‘s and 2 model B‘s are needed. Existing pianos could be moved to classrooms or faculty studios Progress Report: 1 Steinway Model S has been acquired and placed in a practice room for piano major use. Stage 2 Original Estimated cost = $180,000 Status: 35% in progress

Original Proposal: Rebuild existing Steinway Grand Pianos Current inventory needing rebuild: 4 Model D‘s, 1 Model B, 1 Model L, 1 Model O* *Since original proposal, 1 Steinway Model O (c. 1920) in need of restoration has been donated to the Music Department. Progress Report: Partial restoration of Steinway Model D (FA 220) in progress; scheduled for completion March 2001 Partial restoration of Steinway Model B (FA 203A) and Steinway Model L (FA 205F) in progress; scheduled for completion by Summer 2001. Complete restoration of Steinway Model D (FA 214) scheduled to commence Summer 2001; estimated completion Spring 2002 Steinway Model O scheduled for restoration Fall 2001. Stage 3 Estimated cost = $55,000 -85,000 Status: 0% complete

Original Proposal: Acquire new Steinway Concert Grand Piano for the Kent Concert Hall. Move current KCH Steinway to Eccles Conference Center Auditorium. Progress Report: This stage has been modified to focus on acquiring either a Steinway Model B or a Steinway Model D for the Eccles Conference Center Auditorium. Either of these instruments would serve admirably as a fine recital and chamber music piano for this venue. The Kent Concert Hall Steinway Piano has been reconditioned and is currently one of the finest pianos the USU piano faculty has ever encountered. Stage 4 Original Estimated cost Remaining Estimated cost Original Proposal: = = $80,000 $30,000 Status: 55% complete

Replace all existing upright pianos in the music building with Yamaha pianos. 8 practice rooms for upright pianos (2 per room) 10 classrooms for upright pianos Existing inventory could be moved to vocal and instrumental practice rooms Progress Report: Music Department has acquired 10 Yamaha pianos, which have been placed in practice rooms and classrooms. Two older pianos have been moved to instrumental practice rooms for accompaniment use. Stage 5 Estimated cost = $270,000 Status: 12% in progress

Original Proposal: Replace pianos in piano faculty Offices with Steinways Need 1 model D, 1 model B, and 4 model M‘s Progress Report: Purchase of 1 Steinway Model M for Piano faculty Office in progress TOTAL ESTIMATED ORIGINAL COST = TOTAL ESTIMATED REMAINING COST $965,000 = $855,000 - $885,000

5) Band/Orchestral Instruments The Department needs funding for the purchase, repair, and maintenance of band and orchestral instruments. There is the need for some additional violins for string techniques classes. These will be purchased during the upcoming academic year. Needs in the areas of wind and percussion are more extensive and a prioritized list of these needs is provided below. Studio--Fallis Besson 967GS Euphonium w/ case Getzen G50L CC/BBb Tuba w/ case TOTAL: Studio--Griffin Musser Rosewood Xylophone 2 or 3 Congas w/ stand Yamaha Rosewood Marimba 4-5 Octave Kori or Mar 1 Bass marimba 2 Snare Drums Hardware: Cymbal, Snare Drum Stands Drum Kat: Electronic Perc. Controller Display Projector for Laptop Frame Drums 10 piece set TOTAL: Studio--Morrison Repair 2 Fox Bassoons Eb Soprano Clarinet- Buffet Prestige Low C Bass Clarinet-Buffet Prestige Eb Clar. Mouthpieces (artist quality) Selmer B. Clar. Mouthpieces (artist quality) Bb Contrabass Clar-Selmer rosewood Contrabassoon-Fox TOTAL: No 1 1 Cost 3,900 7,500 Subtotal 3,900 7,500 TOTAL Grand $


1 1 1 1 2 1 1 1 1

2,500 1,000 7,500 8,000 500 1,000 2,500 2,000 900

2,500 1,000 7,500 8,000 1,000 1,000 2,500 2,000 900 26,400

2 1 1 2 4 1 1

200 4,000 5,000 200 200 8,000 18,000

400 4,000 5,000 400 800 8,000 18,000 36,600

Studio--Rohrer Yamaha Sforzando Marching Snare Drums Yamaha Field-Corps 18" Bass Drum Yamaha Field-Corps 20" Bass Drum Yamaha Field-Corps 22" Bass Drum Yamaha Field-Corps 26" Bass Drum Yamaha Field-Corps 30" Bass Drum Yamaha Field-Corps Tenor Drums (quints) Gemeinhardt Plastic Marching Piccolos Sabian Marching Cymbals (14") Sabian Marching Cymbals (16") Sabian Marching Cymbals (18") TOTAL: Studio--Smith Selmer Soprano Sax Selmer Baritone Sax Rousseau Saxophone mouthpieces- Soprano Rousseau Saxophone mouthpieces- Alto Rousseau Saxophone mouthpieces- Tenor Rousseau Saxophone mouthpieces- Bari TOTAL: Studio--Timmons 2 High-Quality Piccolos for Concert Bands/Orchestra Bass, Alto Flutes Recording, Scores Ongoing Music Purchase Solo and Ensemble Tuner 1 Repairs/Maintenance for Instruments Student Filing Assistance with Flute Choir Assistance with Transport to Flute Events Annual Guest Artist for Masterclass/Performance TOTAL: Studio--Music Ed. Oboes-Fox model 33 for tech. class Bassoons-Fox, polypropelene for tech. class Instrument Replacement (Perc) Repairs, Maintenance to Insts, Autoharp tuning, Sound System Student Assistants MUSC 3260 TOTAL: GRAND TOTAL

8 1 1 1 1 1 3 10 2 2 2

1,160 1,340 1,380 1,425 1,515 1,715 2,045 850 318 384 450

9,280 1,340 1,380 1,425 1,515 1,715 6,135 8,500 636 768 900 33,594

1 1 2 2 2 2

3,000 7,000 60 60 75 120

3,000 7,000 120 120 150 240 10,630

2 2 1 1 200 1 40 1 1

2,500 5,000 1,000 300 200 500 5 150 1,500

5,000 10,000 1,000 300 500 206 150 1,500 18,856

3 3 1 1 30

4,000 4,000 4,000 750 5

12,000 12,000 4,000 750 154 28,904 166,384

6) Music Therapy Instruments There is a need to increase the number of instruments for the music therapy program including adaptive/assistive equipment over the next few years. It is anticipated that these expenses will be able covered by the Department and through development efforts.


Challenges and recommendations

The Music Department‘s state-appropriated funding sources have been greatly diminished over the past five years. The Department‘s operating budget has been reduced from $94,000 to $78,000. Performance group travel has been reduced from $20,897 to $7,017 and instrument repair and maintenance from $10,135 to $6,577. On the positive side, student government has approved a new fee to increase band operating dollars and we are hopeful the University‘s capital campaign will assist with other aspects of the Department‘s needs. Budget cuts have resulted in the Department‘s inability to fill three of its four vacant positions and this has created a considerable burden on the teaching loads of faculty members. The Department is also hopeful the Capital Campaign will result in funding for the expansion of facilities due to the space constraints imposed by current facilities.

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