Applied Percussion Syllabus
Spring 2012 Edition - Revised 1/17/12
•This syllabus is a contract between you and your teacher(s). Please discuss any questions you have with Dr. Schaft.
•Instructor: all faculty contact information is listed on the web site under tab "contact - studio directory."
•Office hours: Dr. Schaft provides five office hours per week, as per the YSU-OEA contract, which are posted on room 2234. Please make an appointment to guarantee a meeting time. Part-time faculty and graduate teaching assistants are not required to provide office hours.
•Prerequisite: An entrance audition/interview is required for admission and placement in applied studio instruction courses at the major or minor levels.
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Applied Percussion Courses:
1. Minor level applied percussion lessons are intended for music minors who have not met the audition requirements for major level study or for degrees requiring minor level applied instruction. Minor level lessons must be approved by Dr. Schaft and the Dana Director.
Each course is one (1) semester hour of credit and is offered at the following levels:
1500A freshman level 1500B freshman level
2600A sophomore level 2600B sophomore level
3700A junior level 3700B junior level
5800A senior/graduate level 5800B senior/graduate level
Each course consists of 15 thirty-minute weekly lessons. The course objectives are to prepare a student for an audition into the percussion major level, for music education majors pursuing study beyond the Percussion Methods course, for composers, or music minors. A jury exam may be required and this will be determined by the instructor at the beginning of the semester. Percussion Seminar class attendance is not required, but encouraged. Student must concurrently enroll in a Dana large ensemble to receive minor level lessons. If a student drops the ensemble course for any reason, minor level lessons will be terminated immediately. Students taking minor level lessons and planning to audition into the major level should also enroll in music theory 1520 and keyboard musicianship 1581.
2. Major level applied studio instruction is intended for a student majoring in one of the percussion degree programs offered by the Dana School of Music. A student may progress to the next level course in applied studio instruction by earning a course grade of "C" or above. Applied juries occur each semester during final exam week. Specific jury requirements are provided by the applied teacher for each applied course level. The symbol "*" denotes a required degree recital course.
Major level applied studio instruction courses are:
Performance:
1501 freshman level, 2 sh 1502 freshman level, 2 sh
2605 sophomore level, 4 sh 2606 sophomore level, 4 sh
3705 junior level, 4 sh 3706* junior level, 4 sh
4805 senior level, 4 sh 4806** senior level 4, sh
Music Education & Music Recording:
1501 freshman level, 2 sh 1502 freshman level, 2 sh
2601 sophomore level, 2 sh 2602 sophomore level, 2 sh
3701 junior level, 2 sh 3702 junior level, 2 sh
4801** senior level, 2 sh 4802** senior level, 2 sh
Jazz Performance:
1501 freshman level, 2 sh 1502 freshman level, 2 sh
2603 sophomore level, 3 sh 2604 sophomore level, 3 sh
3703 junior level 3, sh 3704* junior level, 3 sh
4803 senior level, 3 sh 4804** senior level, 3 sh
Major Level Applied Percussion Course Components
1. Private Lessons are designed to address individual needs. Most music schools offer 15 private 50’ lessons per semester and a weekly studio seminar class. However, in addition to private lessons and the seminar class, we assign each student weekly small group lessons and the number of private lessons must therefore be slightly reduced to meet YSU-OEA faculty workload regulations. Each student will receive thirteen private lessons per semester. Your class schedule is due the first day of classes. Teacher assignments are made in consideration of your past achievement, student and faculty schedules, and what we believe will be most beneficial for your development. Every effort is made to provide you experience with various teachers where appropriate. Please notify your teacher of your presence by knocking on their door at your lesson time - using 3/2 rumba clave. It is your responsibility to notify your teacher when you must leave. The schedule of private lesson assignments is posted week 1 each semester.
2. Group lessons are designed to unite students of similar interests, needs, and experience levels in an interactive small group learning environment. They meet weekly for 50’ approximately 13 times per semester. The percussion studio is divided into numerous small groups each semester and a group lesson assignments chart is posted the first week. Group lessons are an important part of our curriculum and they afford our students approximately twice the faculty contact time as other colleges offering only private lessons. Topics may include: mind-body skills, practice techniques, listening, instrumental techniques, and repertoire on timpani, snare drum, drum set, keyboards, orchestral accessories, hand percussion, sight-reading, and rhythm. Students are also expected to develop their teaching skills by critiquing and coaching their colleagues.
3. Percussion seminar class is a weekly studio forum (Friday 12-12:50) required of all percussion majors. Seminar includes lectures, discussions, student performances, masterclasses, clinics, instrument care, tuning, and maintenance, research projects, and guest artist performances. Student performances typically occur in a masterclass format, in which you perform and receive critical feedback from faculty and students. Repertoire is derived from private lessons, group lessons, or Dana ensembles. You may also be required to submit written or aural comments for studio colleagues. Masterclass protocol includes: dress appropriately, bring two copies of your music - one for the instructor and one for your studio colleagues, number measures in pencil, audio (and or video) record your performance and the feedback, and take notes afterwards.
4. Rehearsal observation. Faculty may choose to dedicate a small amount, one or two lessons to observing your ensemble rehearsals, as observing you in such contexts may be one of the best ways I can assist in your development.
5. Percussion studio instrument and facilities maintenance duties may be assigned at my discretion and shall be equitably distributed amongst all studio members.
6. Required advisement meetings.
A. A brief advisement meeting the first class day each semester to review your registration, schedule, and curriculum guide.
B. A 15’ advisement meeting during final exam week to discuss self and instructor assessment, review jury comments, and discuss future studies.
C. Recital advisement meeting is required during the first two weeks of fall semester at least one semester in advance of your recital semester.
D. Additional advisement meetings (during office hours) may be necessary for assistance with ensemble parts, registration, orientation, recital preparation, graduate school audition, etc.
Description of applied percussion curriculum levels
Freshmen Level – 1501, 1502 Emphasis on the development of a "fundamental-set" of musicianship skills, instruments, techniques, and repertoire. Study concepts of practicing, memorization, sound production and technique, instrument and mallet selection, tuning, instrument maintenance, rhythm, rudiments, scales and arpeggios, sight-reading, aural skills, musical styles, improvisation, composition, and interpretation. Study beginning/intermediate level methods, etudes, solo, and chamber music repertoire on snare drum, drumset, congas, xylophone, glockenspiel, marimba, vibraphone, timpani, orchestral accessories, and multiple-percussion. Prereq: successful entrance audition.
Sophomore Level –2601, 2602, 2603, 2604, 2605, 2606 Continued refinement and expansion of freshmen level curriculum. Prereq: successful completion of 1500 level.
Junior Level – 3701, 3702, 3703, 3704, 3705, 3706 Study intermediate/advanced techniques, etudes, methods, solo and chamber music repertoire. Presentation of junior recital. Prereq: successful completion of 2600 level.
Senior Level – 4801, 4802, 4803, 4804, 4805, 4806 Study advanced techniques, methods, and etudes, solo and chamber music repertoire. Presentation of senior recital. Prereq: successful completion of 3700 level.
Graduate Level – 6901, 6902, 6903, 6904, 6905, 6906 Study of advanced percussion techniques and repertoire pertaining to the student’s career interests. Culminates in the presentation of the graduate recital and scholarly program notes thesis document. Prereq: graduate audition.
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Miscellaneous info:
•Correspondence: YSU Percussion Web Site: <www.ysu.edu/percussion> Bulletin Board: 2234 Bliss Hall.
•Course materials fee: $35 fee per semester, intended to maintain YSU percussion gear provided for this course.
•Practice room keys: Sign-out keys 5607 and 5732 from the Dana office. You must be registered for applied percussion to receive and maintain possession of keys. Keys may be kept during the summer provided you enroll for the following semester.
•Bliss Hall lockers (intended for personal items) may be rented at the Kilcawley Center "Bytes & Pieces".
•Loaned items: from Dr. Schaft or other faculty must be returned as requested in their original condition. You must replace any lost or damaged items.
•Percussive Arts Society: <www.pas.org> I encourage you to maintain a PAS membership and attend the annual PASIC conventions, during which, no YSU percussion events will be scheduled.
•Percussion Ensemble enrollment: is encouraged concurrent with each semester of Applied Percussion Lessons.
•Other Dana Ensembles: Ensemble percussion personnel assignments are determined by factors including: audition placement results, faculty assignments of ensemble personnel, ensemble personnel needs, your degree program and relevant ensemble experiences, your preferences and availability.
•Section-leader duties. Large ensembles (bands & orchestras) will each have a faculty appointed section leader who coordinates logistics such as part assignments, set-ups, gear moves, and offers artistic suggestions.
Equipment moves:
1. Write an equipment list and give it to the graduate assistant one-week prior to the move.
2. Schedule equipment packing and unpacking sessions with your section colleagues well before the scheduled move and post this on the Percussion Bulletin Board, as all section members should be present.
3. Pack gear and place by northwest door of room 2326. 4. Unpack gear as soon as it is returned to Bliss Hall so as to minimize impact on other ensembles.
•Americans with Disabilities Act: Anyone requiring special adaptations or accommodations should inform the instructor as soon as possible. In accordance with University procedures, if you have a documented disability and require accommodations to obtain equal access in this course, please contact the Office of Disability Services (phone: 330-941-1372) in the Center for Student Progress at the beginning of the semester or when given an assignment for which an accommodation is required. Students with disabilities must verify their eligibility through the Office of Disability Services.
•The Center for Student Progress is a resource on Campus established to help
students successfully complete their university experience. Please phone (330) 941-3538 or visit
the Center for assistance in tutoring or for individualized assistance with social and academic
success. The main Center is located in Kilcawley West below the bookstore. CSP Disability
Services is located at 275 Fifth Ave.
•Recommended Instructional Materials - see link to: print & video resources ••••••••••••••••••••••••••
Educational objectives
In Benjamin Bloom’s Taxonomy of Educational Objectives (1956) there are six categories: Knowledge, Comprehension, Application, Analysis, Synthesis, and Evaluation. These categories are listed from simple to more complex behaviors and each one should be mastered before the next one occurs.
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Specific Course Objectives: You should develop knowledge in three broadly related areas - performance/pedagogy, mental/physical skills, and pragmatic business skills.
1. Performance/Pedagogy. Develop a deep understanding, via multiple perspectives, of fundamental performance and teaching skills. Experience music through the three primary modes of artistic creation: re-presentation, improvisation, and composition. You and your instructor will establish semester and weekly goals and discuss how to attain these. These typically include:
A. Warm-up concepts, techniques, and methods.
B. Practice concepts, techniques, and methods.
C. Sound production concepts including acoustics and human perception of sound.
D. Kinesthetic movement concepts and techniques across various percussion idioms.
E. Instrumental techniques and versatility - snare drum, keyboards, timpani, drum set, multiple percussion, orchestral accessories, and ethnic percussion.
F. Visual, aural, and tactile rhythmic and pitch discrimination skills including relative tempo memorization, relative pitch memorization, rhythmic microbeat division, interval identification, singing, transcription, and sight-reading.
G. Musical interpretation. Awareness, understanding, and synthesis of the elements necessary for informed musical interpretation including historical research, biographical information about the composer, accurate score realization and analysis, and concepts of musical expression.
H. Development of listening skills through live and recorded performance observation. Written documentation and analysis may be required.
I. Develop familiarity with percussion literature through research that may include reading, writing, concert or rehearsal observation, and listening assignments.
J. Develop familiarity with proven pedagogical techniques and methods. May include research and lesson observation assignments.
K. Development of improvisation skills.
L. Development of composition and/or arranging skills.
2. Mind/Body
A. Develop knowledge of effective lifestyle habits including: sleep, nutrition, breathing, and physical fitness techniques including stretching/flexibility, warm-up techniques, cardiovascular conditioning, and strength training.
B. Develop the personal/social skills necessary for constructive contributions to our studio and beyond.
C. Develop effective time management and study techniques.
D. Develop an understanding of the learning process including critical thinking and problem solving.
3. Business Skills
A. Develop a professional quality portfolio.
B. Establish active membership in major professional music organizations such as the Percussive Arts Society, Music Educators National Conference, College Music Society, etc.
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Philosophy of percussion curricula
•Since the mid 1900’s, the percussion world has grown exponentially and we believe that the opportunities are limited only by our imaginations.
•Percussion educators frequently debate whether the university undergraduate percussion curriculum should include a broad general curriculum or more specialized studies; essentially a debate about breadth or depth.
•Since the advent of the percussion major degree in the late 1950’s, the typical university percussion curriculum has been based on an orchestral model consisting of timpani, snare drum, keyboards, and orchestral accessories. Many college programs have also included drum set and ethnic percussion in their curriculum, although often to a considerably lesser degree. More recently, drumset and ethnic percussion curricula models have become increasingly common and often include distinct degree programs, taught by separate faculty and include little or no crossover to the standard orchestral model curricula. There are also those faculty who believe that a comprehensive curriculum, or synthesis of both models, represents a viable option. Specialization, in one instrument or style, is often viewed as something that should be pursued only after mastery of fundamental skills - typically at the graduate school level.
•Interestingly, many of today’s premiere percussion specialists are not limited by their choices, but rather, have created unique and exciting career opportunities.
•We consider all the aforementioned issues and provide you an opportunity to co-design a personalized curriculum of various breadth and depth. We believe that diverse people making diverse choices will enrich the YSU percussion community.
•There exist fundamental musicianship skills such as multi-cultural rhythmic skills, aural skills, listening skills, interpretation, sight reading, composition, and improvisation skills that we believe are central to a well-educated musician, cut across myriad musical styles, and these can usually be addressed through your chosen instrument or stylistic interests. I believe this "body of central skills" must be the foremost consideration when designing any effective curriculum.
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Bachelor of Music Philosophy
Undergraduate students are typically advised to conceive of their degree program as consisting of two broad phases:
Phase 1 – freshman and sophomore years - lower division. Development of fundamental musical concepts and instrumental techniques; determined in your private lessons, group lessons, and seminar class.
Phase 2 – junior and senior years - upper division. Emphasis on advanced musical concepts, instrumental techniques, repertoire, and the development of personal career objectives.
Throughout your tenure, you should experience a gradual transformation; ranging from a more predetermined curriculum in Phase 1, progressing toward increasingly personalized and variable studies in Phase 2. This transformation process is determined by your ability to achieve Phase 1 proficiency levels; the faster proficiencies are mastered, the sooner the process occurs. We believe that the personal maturity necessary to wisely determine your own course of study must be earned and that earning it provides you myriad educational and career opportunities. Such autonomy is a true measure of personal maturity and should be the deciding factor as to whether or not you advance to the upper division.
Phase 1 – Freshman and sophomore levels
The first two years are dedicated to developing a collection of foundational concepts, techniques, and repertoire chosen from among snare drum, drum set, keyboard, timpani, Latin/hand drumming, multiple percussion, and orchestral accessories. We believe these skills are central in your percussion career whatever it may be. Of course, the specific content will necessarily vary from one student to another.
It would be helpful to conceive of this concept of “a body of skills/knowledge” with a metaphor such as “intellectual capital”. For a performing artist, such a term can also be understood to include "performance skills" not just "intellectual" capital. “Sociologists have shown that intellectual capital (i.e. knowledge) operates in almost every sphere of modern society to determine social class, success or failure in school, and even psychological and physical health.“ (Hirsch 1996) Your accumulation of broad foundational knowledge is the key to your educational achievement. To be useful, intellectual capital must be broadly shared with others, enabling you to communicate and learn effectively within society.
American educational theory has claimed that students need to be given all-purpose "tools" that are necessary to continue learning and adapting. But the content used to develop these tools has not been specified. Unfortunately, the tool metaphor, which encourages indifference to specific knowledge (i.e. critical thinking skills divorced of a specific subject matter, etc.), has shown itself to be ineffective. Rather I believe that intellectual capital is, itself, the greatest all-purpose tool of adaptation in modern society.
“Psychological research has shown that the ability to learn something new depends on an ability to accommodate the new thing to the already known.” (Hirsch 1996) Experts learn new things faster than novices because of their considerable background knowledge. Wide knowledge is motivational in that it nourishes an active curiosity to learn more.
The percussion domain is a relatively new field that is experiencing rapid growth. Compared to classical piano or violin pedagogy which dates back several centuries, percussion pedagogy is in its infancy. Percussion degrees were first granted at the University of Illinois at Champaign-Urbana in the mid-1950’s. Before then, a percussionist was required to major in another instrument or cognate area (such as history or composition) to earn a music degree. In the 1950’s, few universities employed full-time percussion professors, as the standard practice was for an adjunct teacher to teach orchestral percussion lessons at the minor level. There was little or no university level instruction available on drumset, hand drums, percussion ensemble, etc. Shortly thereafter (in the 1960’s and 70’s), colleges and universities witnessed a widespread and rapid growth in academic percussion studies and many schools began percussion degrees, percussion ensembles, and hired full-time professors.
As contemporary percussionists, we face many challenges and exciting opportunities. The primary challenge is to determine how to balance the concepts of breadth and depth. Some of the questions we typically ask ourselves include: How much general percussion studies should I possess? Should I specialize? If so, when and to what degree? The most fascinating opportunity for a contemporary percussionist is to keep abreast of recent developments while maintaining an adequate focus to sustain a successful career. Many of the world’s finest professional artists advocate the importance of general percussion skills, throughout our early training, achieved through mastery of fundamental skills on the major instruments such as snare drum, drum set, keyboards, hand drums, timpani, multiple percussion, and orchestral accessories. The basis of this style of educational pedagogy revolves around the specific instruments as the core variable. Alternatively, one could conceive of the acquisition of core musicianship skills as the most important goal regardless of the particular instruments studied. I favor this latter "core musicianship skills" approach as it encourages attention toward central and versatile musicianship rather than a diverse collection of physical skills and instruments.
I would hope that all percussion students would be fortunate enough to study with a teacher who understands the importance of core musicianship skills. Of course, not all teachers view the same skills as foundational or universal. The most important concept we can offer is to help you understand why we believe this knowledge may be central to your success. In my opinion, far too much percussion education focuses on motor skills – kinesthetic experience - and not nearly enough attention is paid to the development of aural skills, sound production, improvisation, and composition.
Many of you may already or soon will become active private teachers and we would hope you will experiment and adapt similar curricular philosophy and skill sets in your teaching. We are constantly re-evaluating this curriculum and your suggestions are welcome.
When you begin here, we will perform a complete assessment of your musical achievement and determine your educational needs. This assessment process will continue throughout your tenure in applied percussion.
Phase 2 – Junior and senior level
These years are primarily dedicated to developing advanced techniques and interpretive concepts, repertoire, and preparing junior and senior recitals. Such recitals should demonstrate your versatility and unique interests.
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Master of Music Philosophy
Graduate students are advised to conceive of their degree in two broad phases:
Semesters 1 and 2. The primary objective is address your individual career goals via musicianship skills, concepts, instruments and techniques, styles, techniques, interpretive concepts, advanced repertoire, and to address any percussion related deficiencies or potential career liabilities.
Semesters 3 and 4. The primary objective is to prepare your graduate recital and accompanying written scholarly program notes document. The graduate recital should demonstrate advanced achievement reflecting your career interests.
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Assessment/Grading
Assessment should compare you to a set of faculty expectations and these must be mutually understood and documented by you and your instructor. In the case of group lessons and seminar class, you learn cooperatively and yet individual assessment must be performed on you to satisfy university grading requirements. Therefore we must work together to determine how your learning can be assessed and you should do as much of the assessment as possible. To this end, you will be asked to recommend your suggested course grade and justification for it.
Assessment consists of performance assignments, portfolio assignments, and adherence to syllabus policies. I consider your interest in learning the most important determinant of your achievement. Your motivation should be intrinsic, (not extrinsically motivated by grades) as intrinsic motivation is the best assurance of long-term progress. To that end, I focus on what you must do to reach your potential, rather than discussing specific letter grades at each lesson. If you wish to know how a particular lesson was graded, please ask.
Grading Scale – The Dana School of Music grading policy states you must receive a “C” or higher in each course for that course to count toward your degree program.
Grade A, 90-100% – includes: superior attendance, superior achievement of weekly and semester goals, consistent positive attitude, a complete commitment to attaining your potential. You love what you do and it shows through your passion, dedication, and achievement.
Grade B, 80-89% – Slightly less than letter grade “A” above.
Grade C, 70-79% – May include flawed attendance, partial achievement of weekly or semester goals, inconsistent attitude or progress, and/or a partial commitment to attaining your potential. Your passion, dedication, and achievement is questionable or inconsistent, and it shows.
Grade D, 60-69% – May include flawed attendance, partial achievement of weekly or semester goals, inconsistent attitude, or a partial commitment to attaining your potential. Your passion, dedication, and achievement is often questionable and it shows.
Grade F, 0-59% – May include significant disregard for any of the above; a minimal achievement of your potential.
Late assignments may require grade reductions appropriate to the nature of the situation.
Academic Dishonesty see YSU Bulletin, regarding plagiarism and dishonesty.
Grades of “incomplete” or “PR”: See the YSU Bulletin “Grading System”. The only valid reason for an incomplete, or PR grade, is for a medical or other reason so extreme as to cause you to be unable to complete the course. You must be passing the course at the time of your request and demonstrate that the circumstances requiring the “PR” are beyond your control.
Written assignments.
1. Computer printouts must be legible.
2. All work should be proofread to correct typographical, spelling, documentation, and grammatical errors. Any assignment judged to have excessive errors is reduced in grade accordingly.
3. Assignments must be organized in your portfolio.
4. All reference materials should follow the Chicago Manual of Style.
Assessment criteria - consists of 100 points, weighted as:
•portfolio 10%
•group lessons 10%
•seminar class 10%
•private lessons 70%, includes jury, recital, related assignments
1. Portfolio - you should develop a professional quality portfolio to document your learning process. Your portfolio is revised throughout your tenure, is due at each jury exam, and will be reviewed and returned to you during your final exam week advisement meeting. Each section should be marked by a divider sheet with a tab listing the section title and placed as the first page of that section. Contents should include:
A. Completed “Repertoire Record”.
B. YSU Curriculum Guide. Revised to date, in pencil. Available in the FPA Dean’s Office and online.
C. Résumé – include: name, contact info, performance experience, teaching experience, honors and awards, and reference list. Must be revised to current date.
D. One or two paragraph bio.
E. Copy of all programs in which you performed, reverse chronological order.
F. Philosophy of Education Statement. Required of education majors only.
G. Compact disc copy of your recital, if a recital was required that semester.
2. Performance includes private lessons, group lessons, seminar classes, recitals, recital hearings, auditions, and juries. Your achievement is primarily determined by your mental/physical habits and dedication to a consistent and intelligent practice schedule.
Recommended practice times listed in the YSU Bulletin: One semester-hour course requires one hour daily. Two and three semester hour courses require 2 hours daily. Four semester-hour course requires 3 hours daily. I believe, however, that it is unfair to grade you based on the amount of time or effort you expend on a subject. If everyone learned the same material at the same rate, then such "time or effort expended" based assessment might possess merit, but this is clearly not the reality of human learning. Rather, I grade your actual achievement regardless of how long it takes you to learn the material. To me, recommended practice times are merely suggested minimums intended to provide a rough idea of approximately how much time must typically be devoted by average students in order to pass the applied percussion courses. If you plan to perform professionally or attend major level graduate schools, such minimums are likely insufficient to place you in nationally or internationally competitive positions, rather a 4-6 hours daily minimum is likely more realistic.
I recommend the following practice minimums:
•1 SH course – 2 hours daily, 14 hours weekly, 210 per semester.
•2-3 SH course - 3 hours daily, 21 hours weekly, 315 hours per semester.
•4 SH course – 4 hours daily, 28 hours weekly, 420 hours per semester.
3. Related assignments may include reading, research, viewing videos, concert critiques, listening, composition/arranging, etc. Such assignments are intended to help you develop the perspective necessary to become an effective performing artist.
Your instructor may assign composition projects to encourage engagement in analytical and creative means for addressing individual technical and musical needs.
A. Notation should be completed via legible hand-written notation or computer notation software.
B. The first-draft is assessed and revisions may be required.
C. The final draft will be assessed for legibility, accuracy, and may be performed in lessons, seminar, or juries.
Attendance is required at private lessons, group lessons, seminar class, and all other studio events including Percussion Ensemble performances, faculty and student percussion recitals, percussion performances at Dana Convocations, and guest artist events. In short, your presence is necessary to fully realize the community of learners and collaborative nature of this course. The percussion studio events calendar is published on this website (see calendar) and updated regularly, with the revision date posted. Percussion ensemble concerts will be listed no later than week one of fall semester. Student recitals and guest artist events are typically scheduled throughout the year and published immediately on the website. If you notice a schedule conflict, regardless of how far in-advance, immediately notify Dr. Schaft as indicated below.
Any studio event (or portion thereof) you have a conflict with or miss, must be documented by an email memo to Dr. Schaft as soon as you become aware of the issue. Use standard memo format: to, from, date, description of the event, and explain why you were absent. Dr. Schaft will reply within a week to indicate if your request is excused or unexcused. Any un-documented absence is unexcused.
A. Excused absences may be granted for:
1. Special YSU event (ensemble tour, field trip, conference, etc.) i.e. academic work required as part of a YSU course in which you are enrolled. Any such event must be documented by a memo from the YSU instructor to Dr. Schaft, explaining the conflict. You must schedule non-YSU events around our studio calendar.
2. Documented court-ordered appearance.
3. Absences due to serious illness and documented by a letter from a certified medical practitioner will be considered. In some cases, an excused absence may be granted. A minor cold or accepting a non-school related gig may not be excused. Excused absences from private lessons will be rescheduled at the instructor’s earliest convenience. Private lessons missed by the instructor will be made up as soon as possible. In the case of extended teacher absence, a substitute will be provided.
B. Unexcused absences will reduce your final course grade. The penalty will be determined in consideration of the significance of the event missed and your attendance history. The YSU Bulletin states that more than three absences results in failure of the course – 59% or less; therefore each absence equals approximately 13.3% deduction per absence. One tardy equals ½ absence.
Behavior/Courtesy:
A. If you fall asleep you will be dismissed and an unexcused absence assessed.
B. Electronic devices (distractions such as phones, texting, etc.) must be turned-off while in the classroom. Each interruption will count as a 1/2 absence.
C. Hats, lewd or questionable attire, or other inappropriate or impractical (to play the instruments) attire is not permitted. Violations will result in dismissal and that period counted as an absence. I recommend slacks and a loose fitting shirt; no skirts, dresses, high-heel shoes, or tight clothing.
D. Avoid jewelry that makes noise or may damage the instruments.
E. Food or drinks (except bottled water) are prohibited.
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Jury Policy
A. A jury performance is required during finals week for a panel of YSU faculty. Each julry member writes a critique and issues a grade which are averaged into a final jury grade by Dr. Schaft. If you do not perform a jury, an “F” is issued. Given a valid excuse, a “PR” will be issued.
B. Your instructor will explain jury repertoire requirements in your private and group lessons.
C. If your repertoire includes an accompaniment part, it is your responsibility to secure such. You must perform with your accompanist in at least one lesson and one seminar class before final exams or a jury will not be permitted.
D. The jury committee also uses the fall semester juries as auditions and to determine ensemble personnel and section assignments for the spring semester Dana wind bands, orchestras, and percussion ensemble. Dr. Schaft will post an ensemble personnel assignment chart immediately following the jury exams effective for the spring semester. Ensemble assignments are made after consultation with the relevant ensemble directors.
Jury Protocol:
A. Sign-up on the jury list posted on the bulletin board the last class week of the semester.
B. Complete one jury exam sheet, available from the music office, for each faculty member.
C. Submit two copies of your jury music. Photocopies are permissible provided you own the original. Number the measures in pencil.
D. Submit your portfolio.
E. Dress as you would for any professional audition.
F. "Thank" the committee afterwards.
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Recital philosophy and requirements
The YSU Bulletin states that each Bachelor of Music degree candidate must present a senior recital; performance majors a one-hour recital, music education majors a half-hour recital, performance majors must also present a half-hour junior recital. No junior level music education recital is required.
I believe, however, that these recital requirements are not in your best educational or career interests. Since 1996, I have required each Bachelor of Music major (both performance and education) to present a junior and senior recital and this has produced excellent results and has been welcomed by most all our music education percussion majors. I it is my academic right and duty to maintain standards I deem essential, beneficial, and reasonable for each applied percussion course. If you disagree with my recital requirements, please discuss this with me immediately.
The concept of significantly lower musical standards for an education major is an abhorrent idea to me, especially as a long-time performing artist and music educator. Music education majors receive less credit for their applied courses and this must also be considered when making assignments, be they lessons, juries, recitals, etc. However, I believe that presenting two recitals is a central and beneficial experience for any Bachelor of Music major, be they performance or education. I typically adjust recital duration and repertoire difficulty to reflect the aforementioned course credit differences. I hope that you want to perform two recitals of the most challenging music you are capable of and I trust you will be grateful for this opportunity throughout your life, as many of our alumni will confirm.
The reasons why music education majors receive less applied credits likely has more to do with limiting the total degree credit hours for the YSU education degree than a deliberate attempt to limit a student’s musical achievement. Regardless of the intent, the result is that music education majors may suffer an achievement deficit if we merely require the YSU Bulletin standards. We must reach an understanding about what is in your best interest and I am happy to discuss this with you in greater detail.
Some schools address this degree credit issue by offering only half-hour lessons to education majors; an idea the Dana faculty has historically rejected. It seems peculiar, however, that both performance and education majors receive 50’ weekly lessons and a 50’ weekly seminar (the same class contains performance and education majors) and yet there exists a credit discrepancy between them. I believe this fact proves my assertion that the reason has to do with capping degree credit hours. It certainly would be more “cost effective” for YSU to offer only half-hour lessons. If you believe there should be a direct correlation between course meeting times, assignments, and credit hours, you will likely be frustrated by many music degrees in the United States. To prepare for a rewarding career you must be willing to move beyond such superficially “objective” criteria. My recital requirements are merely an attempt to help you fully realize your potential.
YSU Percussion Studio Recital Expectations:
Each BM degree recital shall include 30-60 minutes of music as approved by Dr. Schaft.
1. Junior recital - required second semester of 3700 level.
2. Senior recital - required second semester of 4800 level.
3. Graduate MM recital – required fourth semester applied study.
Non-degree recitals are permitted pending Dr. Schaft’s approval. I often recommend that performance majors perform a sophomore recital.
Recital Process Overview – includes five phases that must be completed by the last class day of the applied course for a passing grade.
I. Recital advisement meeting Schedule with Dr. Schaft at least one semester before the recital applied course. This should occur during weeks 1-2 of fall semester. Download a copy of the Percussion Recital Form complete your information, and bring to this meeting.
II. Booking a date
A. Recitals are booked during weeks 1-15 of the fall or spring semesters. No recitals are permitted during final exams, YSU observed holidays, breaks, or summer terms. No recital may conflict with a Dana School of Music event unless approved by Dr. Schaft and Michael Gelfand.
B. Fall semester recitals should be booked during the previous spring term.
C. Submit the Percussion Recital Form, approved and signed by Dr. Schaft, to Michael Gelfand, Bliss Hall 3031, 330-941-3640, <mgelfand@cc.ysu.edu>. He will check date & venue availability and will return written approval to Dr. Schaft.
D. Dr. Schaft will confirm the date and it is “officially booked” once it appears on the Percussion Calendar.
III. Recital hearing. A committee of three full-time faculty assesses if your repertoire preparation, the printed program, and offers artistic guidance.
A. Hearing must occur at least 14 days before the recital. It is your responsibility to contact all committee members and schedule the hearing. This time frame allows for any required revisions without effecting the recital date, programs, or publicity. If your applied teacher believes that you are not adequately prepared to pass a hearing they may cancel it at any time.
B. Hearings are graded (pass=A, B, or C) or (fail=D or F). This grade is factored into the applied percussion course grade.
C. Recital Hearing Procedure.
Materials to be submitted at the hearing:
a. Percussion Recital Form. Use the form on the percussion website, not the Dana form.
b. Recital program (typed). If the committee suggests revisions, you must receive Dr. Schaft’s approval of such corrections before your program is printed. Program should include composer birth and death dates and composition dates. See Bakers Dictionary of Music and Musicians and the Harvard Dictionary of Music (Maag Library). Also include program notes, a several paragraph bio, and the percussion studio calendar (available from our website).
c. One copy of repertoire with measures numbered. Photocopies are permitted provided you own the original score.
d. Record your performance for use with your applied teacher.
e. Following your performance, the committee will offer pass/fail and artistic recommendations. Pending a passing grade, the faculty will sign the Percussion Recital Form and you may proceed with the publicity and logistics process outlined below. Pending a failing grade, the faculty will discuss recommendations, suggest a re-hearing date, and hold the Percussion Recital Form until you pass.
IV. Recital publicity.
A. Programs.
a. E-mail your program to FPA program coordinator, Anna Ruscitti <aruscitti@ysu.edu> 1215 Bliss – adjacent to Bliss Recital Hall.
b. They prepare a draft program and return it to you for proofreading.
c. Submit your corrections and approval and they will print programs - request 75 in the color of your choice. Allow 10 business days.
B. Recital publicity. Design recital posters, secure Dr. Schaft’s approval, and post two weeks before the recital. Posters are permitted only on designated bulletin boards.
a. Email a formatted copy of your program to Dr. Schaft, for inclusion on the percussion web site programs page.
V. Recital production and logistics.
A. Have your recital audio and video recorded.
B. Logistics.
1. Secure stage managers/production assistants to handle logistics, lighting, recording, and program distribution. You may choose to provide complimentary refreshments following the recital - parents or relatives may assist with this. Refreshments may be offered in the lobby only.
2. Schedule venue rehearsal time to familiarize yourself with logistics and acoustics. Sign-out the room and the room key from the music office.
3. Within one week after the recital:
a. Submit video recording to Dr. Schaft for instructional purposes. This will be returned to you.
b. Submit a CD copy of the audio recording to Dr. Schaft for percussion studio library. Disc should be in a jewel case; both the case and disc labeled with your name, recital, date, and an attached recital program.
Recital grading. After the above are completed, Dr. Schaft will issue a grade for the recital that is factored into the semester final grade.
A. Each recital is graded pass or fail. Pass (A, B, or C) or fail (D or F).
B. If the recital is not presented before the last class day of the semester a letter grade of “F” will be issued for the course.
C. If a recital is cancelled due to unforeseen circumstances (performer illness, family emergency, court ordered appearance, or a faculty absence) it shall be re-scheduled as soon as possible.