Resources
Categories

Music Student Handbook

The John M. Long School of Music Handbook contains policies and other information that should be useful primarily but not exclusively to undergraduate and graduate music majors, faculty and staff. Since the handbook is updated each year, student input regarding content, organization, and usefulness of information is important. Please bring any suggestions to the School of Music Office, Long Hall 109, or e-mail music@troy.edu.


School of Music Facilities

The John M. Long School of Music is housed in Long Hall and Smith Hall on the Troy, Alabama campus of Troy University.

Long Hall houses the University Bands and Choirs (including their main rehearsal spaces), the Dance Department (including their main rehearsal space), the School of Music office (Long 109), the College of Communication and Fine Arts Dean’s office (Long 109), faculty offices, a music library, the percussion studio, and practice rooms.

Smith Hall includes music classrooms, practice rooms, technology and keyboard labs, recording studios, a music library, faculty offices, and Crosby Theater.

Hawkins-Adams-Long (HAL) Hall is located between Long Hall and the Trojan Dining Hall. The National Band Association’s National Band Directors Hall of Fame and the Alabama Band Directors Hall of Fame are both located in HAL Hall. HAL Hall also includes a small recital hall that is used for School of Music recitals. A more intimate recital space is located on campus in Sorrell Chapel.

Facility Reservation Policy

Spaces in both Smith Hall and Long Hall are reserved through the School of Music Office with the exception of Claudia Crosby Theatre, HAL Hall of Honor (reserved through event management) and the Dance Facility (contact the Department of Theatre and Dance). To reserve a space, please fill out this reservation form. If you have questions about Facility Reservation Policies, contact the School of Music office at music@troy.edu.

Please see specific policies about each space below.

Band Room: may be reserved for concerts, rehearsals, and other events. Students and student organizations must have a faculty member present during the entire reservation. Written confirmation of attendance by a faculty member is required prior to reserving the space. No food or drink is allowed without prior approval of the Director of the School of Music. The reserving party is responsible for clean up and returning the room to its original state.

Choir Room: may be reserved for concerts, rehearsals, and other events. Students and student organizations must have a faculty member present during the entire reservation. Written confirmation of attendance by a faculty member is required prior to reserving the space. No food or drink is allowed without prior approval of the Director of the School of Music. The reserving party is responsible for clean up and returning the room to its original state.

Smith 101 (Mac Lab): not available for reservations. To inquire about use of this space contact the School of Music.

Smith 121 (Studio A): available for reservation through the School of Music office.

Smith 135 (Studio B): available for reservation through the School of Music office.

Smith 201: may be reserved for meetings, rehearsals, and other events. If reserving after 5:00 pm during the week or anytime over the weekend or holiday, it is the reserving party’s responsibility to arrange for the room to be unlocked. The reserving party is responsible for clean up and returning the room to its original state.

Smith 205 (Piano Lab): not available for reservations. To inquire about use of this space contact the School of Music.

Smith 209: may be reserved for meetings, rehearsals, and other events. If reserving after 5:00 pm during the week or anytime over the weekend or holiday, it is the reserving party’s responsibility to arrange for the room to be unlocked. The reserving party is responsible for clean up and returning the room to its original state.

Smith 211: may be reserved for meetings, rehearsals, and other events. If reserving after 5:00 pm during the week or anytime over the weekend or holiday, it is the reserving party’s responsibility to arrange for the room to be unlocked. The reserving party is responsible for clean up and returning the room to its original state.

Smith 213: may be reserved for meetings, rehearsals, and other events. If reserving after 5:00 pm during the week or anytime over the weekend or holiday, it is the reserving party’s responsibility to arrange for the room to be unlocked. The reserving party is responsible for clean up and returning the room to its original state.

Practice Rooms in both Long and Smith Hall may only be reserved for sectionals for performing ensembles. Practice rooms are available on a first come, first serve basis to students.

Music Library

The primary Music Library for the John M. Long School of Music is housed in the main campus library in Wallace Hall on the Troy University campus. Music library holdings are accessible on-line from the library link on the Troy University home page (https://trojan.troy.edu/library/).

Music databases include Classical Music Library, the Music Index, RILM Abstracts, and RIPM Music Periodicals. Media resources may be located using Webcat. Hard copy and electronic media instructional resources (including recordings and playback equipment) are located on the main floor of the library. Library hours are posted on the main library web site.

Music Faculty Directors

Director of the School of Music, Coordinator of Graduate Studies – Dr. Larry Blocher
Assistant Director of the School of Music, -- Dr. Carla Gallahan
Director of Bands – Dr. Mark Walker
Director of Choirs – Dr. Diane Orlofsky
Coordinator of Music Industry (General Music) – Professor Robert W. Smith
Coordinator of Applied Studies – Dr. Catherine Allard

Ensemble Directors

Clarinet Choir – Dr. Timothy Phillips
Collegiate Singers – Dr. James Brown
Concert Bands – Dr. Larry Blocher
Concert Chorale – Dr. Diane Orlofsky
frequency – Dr. Diane Orlofsky
Gospel Singers – Dr. James Brown
Jazz Ensemble/Combos – Dr. Dave Camwell
Opera Workshop – Dr. Christi Amonson
Pep Band – Dr. Adam Blackstock
Percussion Ensemble – Dr. Adam Blackstock
POPulus – Professor Robert W. Smith
“Sound of the South” Marching Band – Dr. Mark Walker
Symphony Band – Dr. Mark Walker
Trumpet Ensemble/Brass Quintet – Dr. Michael Huff

Music Applied Study (Lessons)

All music majors are required to take applied study or private lessons. Music Majors will start at the 22xx level. An Advancement Jury is not required when moving from the 11xx to 2xx levels. At least 2 semesters are required at the 22xx, 33xx, and 44xx levels.

Signing Up for Applied Studies

To sign up for applied studies, fill out a Private Performance Instruction Registration Permit located in the School of Music office (Long 109). This form MUST be filled out each semester in order to be registered for private lessons. Once you are assigned a teacher/level, your private lesson will be added to your schedule for you.

Levels
  • 11XX: Non-majors
  • 22XX: Music Majors at the entry level
  • 33XX: Music Majors with at least 2 semesters at the 22XX level AND a successful advancement jury to the 33XX level
  • 44XX: Music Majors with at least 2 semesters at the 33XX level AND a successful advancement jury to the 44XX level
  • 66XX: Graduate Students

If you believe that you have been listed at the wrong level, please see Dr. Allard.

Transfer Students
Please see Dr. Allard before enrolling in private lessons. She will need to see transcript proof that you have taken applied study at your former institution before she can assign you to a higher level. If no applied study has been taken, you will need to take the entire 6-semester sequence of 22XX, 33XX and 44XX plus Senior Recital (MUS 4499).

Juries
An Advancement Jury is held at then end of the second semester of study at the 22XX and 33XX levels. The student will need to perform repertoire appropriate for advancement as indicated on their applied instructor’s repertoire list. The Advancement Jury will consist of a panel of at least 3 full time faculty members. If the jury is passed, the student will be cleared for study at the next level. However, if one of the panel members deems that the student does not pass the Advancement Jury, the applied instructor has two options 1.) To set up a “special” jury for the student, or 2.) To recommend additional study at the current level. The student will remain at their current level of study until the Advancement Jury for that level is passed.

Recital Requirements

Description
Faculty Approval Jury
Time requirements

Preparation for the Recital

Planning the Recital Date
Planning the Program
Dates for the Faculty Approval Jury

The Program

The Program Cover
Example of Cover Inside Front Cover (Program Page)
Example of Program Inside Back Cover (Program Notes)
Example of Notes
The Back Cover

Printing the Program
Recording

 

Description
The senior recital is the culmination of a course of study demonstrating a certain level of musical proficiency. The public performance of this recital is the final examination in the sequence of applied study, which is fundamental to the Bachelor of Music Education degree (in both Choral and Instrumental Music Education) and the General Music degree at Troy University. In the normal four-year course of study, the senior recital (MUS 4499), is usually given in the semester preceding internship, that is, the first semester of senior year. In order to qualify for consideration for the senior recital, each student must successfully complete two semesters each at the 22xx, 33xx, and 44xx levels. Each student will register for MUS 4499 with his/her principal teacher, and will receive a recital grade as determined by that teacher.

Faculty Approval Jury
A Faculty Approval Jury before the entire School of Music faculty determines a student’s readiness for a public recital performance. The Faculty Approval Jury must take place no later than three weeks and no earlier than the preceding semester before a student’s scheduled recital. This means the Faculty Approval Jury will occur either at the end of the previous semester or in the first eight weeks of the semester in which the recital will be given. Failure to perform the public recital within one semester after approval by the faculty will nullify recital permission and the process must be repeated. If for some reason a student has passed the Faculty Approval Jury and will not be able to perform the public recital, that student should drop MUS 4499 or apply for an extension with a grade of “Incomplete”.

Time Requirements
The senior recital must contain at least 25 minutes of music from at least three of the four listed historical periods (Renaissance/Baroque, Classical, Romantic and Modern) and be of a degree of difficulty published in your applied syllabus. In some cases transcriptions of earlier periods may be required, e.g., a transcription of a classical bassoon sonata for trombone. Theses, too, must be the appropriate degree of difficulty. Students having successfully completed two semesters at the 44xx level should have no trouble programming a recital.

Preparation for the Recital

  1. Plan a tentative recital place and date. Coordinate dates and reservation requests through the School of Music Office. Be sure to check with your teacher, accompanist, and family before setting a date.


  2. Plan your program. This is probably something you and your teacher have been talking about for a while, but now is the time to settle on a probable program.
    1. Be sure your planned recital has the right amount of music (minimum 25 minutes) and contains material from at least three stylistic periods (Renaissance/Baroque, Classical, Romantic, and Modern).
    2. Begin researching your program notes. (Groves Dictionary of Music and Musicians, Baker’s Biographical Dictionary, Grove’s Dictionary of American Music and Musicians and any CD liner notes you might have a great place to start).
    3. If you are a singer, begin gathering translations for all your non-English songs.
  3. Dates for the Faculty Approval Jury
    1. Every studio teacher has a copy of the Recital/Studio Class schedule. The Faculty Approval Jury is usually mid-October in the Fall Semester and mid-March in the Spring Semester.
    2. The Faculty Approval Jury will typically take place during the Wednesday recital hour, but occasionally the following Friday or Fridays will be used as jury times. Sign-up up times are first come-first served.
    3. Program notes must be approved before playing the Faculty Approval Jury. Program notes are submitted to the applied teacher no later than two weeks before the first Faculty Approval Jury date. These notes are then corrected, according to the instructions of the applied teacher, and then submitted to the Coordinator of Applied Studies for possible revisions and final approval.
    4. A copy of your program, with timings for each piece, and the program notes you have written should be provided for each faculty member present at the Faculty Approval Jury.
    5. The Faculty Approval Jury must be completed no later than 3 weeks before the scheduled recital date. You can’t play a jury on Wednesday and give the recital the next day.
    6. A majority of the faculty must approve the recital before it can be presented in public.

The Program
The program is your official document that you have prepared and completed the course of study in applied music. As such, it follows a certain prescribed format.

  1. The Cover

Program
This graphic serves as an official record that the faculty of the John M. Long School of Music approves your recital. Contact your private instructor or the School of Music Office to obtain this image. )

presents

Your Name
Instrument or Voice Type

Your accompanist's name
Piano

Usually your name and instrument are in much larger type size than your accompanist's. Do not use the word "accompanist" - accompany is what the person will do, not what he/she plays.

in Senior Recital

Date
ie. Wednesday, May 16, 2006

Place (optional)
ie: Long Hall Band Room

Time (optional)
ie: 7:00 pm

Cover Example:
Cover

  1. Inside the Front Cover - This is where the program selections are listed.

Your name, instrument/voice part
Accompanist's name, piano

PROGRAM
The program is then listed in the order in which it is to be performed with complete information about each work contained in the section. The work, any smaller subdivisions of the work, the composer and his/her dates of birth and death are included. If a piece is a transcription or arrangement, the transcriber’s name needs to be included on the same line as the composer’s, but his/her dates aren’t necessary. In cases where the piece is an arrangement of something with an unknown composer (usually a song) the arranger’s dates are included, if known.

Sonata No. 2, Opus 16
       I. Allegro
       II. Andante
       III. Presto
W. A. Mozart
1756 - 1791

or

Phantasiestück # 3 R. Schumann/Ford
1810 – 1856

or

Down by the Sally Gardens
       Traditional English folk song
arr. B. Britten
1913 - 1976

Composer’s dates are usually pretty easy to find on the internet. Sometimes a living composer won’t include a birthdate in a biography. In that case you can try sending that person or the publisher of the piece an email. They’re usually pretty happy to provide information. If you’ve tried everything you can think of and still can’t find a date, see the Coordinator of Applied Studies.

At the bottom of the program page goes your official notification that you are completing a requirement for your degree and that you have studied with a member of the John M. Long School of Music faculty. The statement is below.

This recital is presented in partial fulfillment of the requirements for the Bachelor of (Music Education) (Arts) (Arts and Sciences) degree. Mr/Ms. (your name) is a student of (current applied teacher).

If you have studied with more than one teacher, you may add: and has also studied with (applied teacher)

Sample Program:
Cover

  1. Opposite the Program Page (Inside the Back Cover)

This is the page for the program notes. A note is just that – something concise yet informative about the composer and your piece. It should not be a regurgitation of everything you’ve read about the composer, but a little bit about his life and background and something that relates to the piece you’re doing. If, for example, you are playing a transcription of a Handel bassoon sonata for trombone you would not include a list of all of the Handel operas and oratorios. Say something about the transcriber, if you can. Find something to describe about the piece. Example: “After opening with a haunting melody in c minor, a second, more lively theme emerges. The movement reaches a climax with the first theme reasserting itself in a triumphant C major.”

If it is a transcription of a song or aria from an opera, that, too, must be included. Example: “Originally the concluding section of Mozart’s Exsultate Jubilate, Alleluia, has been transcribed by Anthony Adverse for tuba solo. It is a fine test of the tuba’s flexibility.”

The program notes should be printed in the order in which you are going to play the pieces. Here are the actual program notes from some student recital programs. Use these as a model. The first note refers to Concerto for Oboe by Benedetto Marcello, the second to Sonata in B für Klarinette und Klavier by Paul Hindemith.

Example:

An Italian composer, writer, and theorist, Benedetto Marcello’s varied style is characterized by imagination, originality, and sparkling technique. The concerto is one of the most well-known pieces for oboe, though the work first received attention in the form of an embellished transcription for keyboard by J.S. Bach. It is also believed that the real composer was actually Marcello’s older brother, Allessando.

Paul Hindemith (1895-1963) combined the contrapuntal techniques of Johann Sebastian Bach with the “new tonality” of the twentieth century to forge a unique musical language that was revolutionary but sometimes difficult to understand. Sonate in B für Klarinette und Klavier (Sonata in B flat for clarinet and piano) reflects the mood of the time in which it was composed. Hindemith was vehemently opposed to the Nazi regime in his native Germany and illustrated this in his music. His works were denounced by the Nazi regime and in 1937, Hindemith’s music was banned and he himself was branded as a degenerate artist. The first two movements are uneven in tempo with melodic tension between notes that reflect the political uncertainties, while the third movement incorporates a slow and strict military-style tempo that resembles the march of a war machine. This effect creates a sense of doom and uncertainty for the listener. The fourth movement is more cheerful and creates a sense of escape and joyousness that is in high contrast with the dark mood of the third, perhaps a conscious decision on the part of the composer for he completed this work while on tour in the United States.

Many foreign words have diacritical marks, such as accents or umlauts. Most word processing programs support these marks. Here are some shortcuts in the Microsoft Office Word.

  1. The Back Cover

This is usually left blank. If, however, you are a singer, you may choose to use the back cover for translations of your foreign language songs. Print the name of the song in its original language with the translation of the title below. Then, print only the English translation of the song in poetic layout. List the songs in program order down the page. Usually small print is used and two columns of songs fit on one page.

In some instances there will not be enough room for all the translation and program notes. In that case, a program insert will be necessary.

  1. Printing the Program

Students may choose to have the University’s Creative Services create a program or do it themselves. Printing charges are quite nominal at the University’s printing organization, Ricoh (located on the bottom floor of the Trojan Center).

A minimum of 50 copies of the program should be printed. Five should be filed with the applied teacher and five with the School of Music Office.

  1. Recording

Each student is responsible for arranging to record his/her own recital. Contact the Music Industry Department to inquire about possible audio or video equipment that may be available.

Functional Piano Exam Requirements

This proficiency requirement is satisfied by a test (about 20 minutes in length) which all Music Majors should pass by the end of sophomore year. All Music Majors must pass the Functional Piano Exam in order to graduate. This also applies to transfer students. The test will be administered by appointment with the piano faculty on the appointed day. Students will take the Functional Piano Exam (also known as the Piano Proficiency Exam) after completion of two semesters of class piano or by special permission from the piano faculty.

Class Piano I (MUS 1105) is taken the 1st semester/1st year for incoming freshmen.
Class Piano II (MUS 1106) is taken the 2nd semester/1st year for incoming freshmen.

In the case of unusually-well qualified entering pianists, following an audition, permission to take the Piano Proficiency Exam immediately may be granted by the piano faculty.

The Piano Proficiency Exam (Part I)
will be given as the final exam for Class Piano II (MUS 1106). 

  • Instrumental majors complete Piano Proficiency Exam at the end of freshman year.
  • Vocal majors complete Part I of Piano Proficiency at the end of freshman year.
  • Vocal majors will complete Part II of Piano Proficiency by enrolling in Private Piano (MUS 1114) immediately following completion of Piano Proficiency, Part I.

For all other questions regarding the Piano Proficiency Exam including specific proficiency exam requirements, please contact Dr. Hui-Ting Yang, Coordinator of Piano Activities.

Music Technology/Keyboard Lab

The general Music Technology Lab is located in room 101 of Smith Hall. The lab includes 25 workstations. Each workstation is equipped with an iMac, music software programs, and a MIDI keyboard. The Keyboard lab is located in room 205 of Smith Hall. The lab is equipped with 20 state-of-the-art keyboards and is open from 8:00 a.m. to 5:00 p.m. Monday through Friday excluding class times.

Recording Studios

Recording studios are operated and maintained by the Music Industry faculty and staff. Studio A is located in Smith Hall, room 123. Studio B is located in Smith Hall, room 135. For more information, please contact the Music Industry Department.

Practice Rooms

Practice rooms for general music student uses (applied lesson students only) are located on the second floor of Smith Hall. All practice rooms are open from 7:00 a.m. to 11:00 p.m. daily (regular building hours). Practice rooms are not reserved for individual student use and are available on a first come first serve basis.

Last Updated: 10/13/2017