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
All music majors are expected to make continuous progress in applied music as demonstrated in appropriate juries each semester. The culmination of technical and musical studies in a student’s principal applied instrument is a successful senior recital.

To best accomplish this goal:

  1. Music majors must be continuously enrolled in private performance instruction (applied music) until completion of the Senior Recital.

  2. All music majors must successfully complete a jury performance, with a grade of C or better, at the end of each semester of enrollment. (Anyone granted a grade of “incomplete” for a semester must pass the jury by the sixth week of the following semester of attendance). Students failing to successfully complete a jury will be placed on probationary status in the music major. Students may apply for reinstatement of status after successfully completing a jury in the next semester of study. Failure to complete a jury a second time will result in dismissal from the music major. A student may petition the faculty for reinstatement of status with a formal letter explaining the extenuating circumstances and justifying the lack of jury performance. A letter of recommendation from the student’s applied teacher is also required.

  3. In the normal course of events students will apply for level promotion at the end of two semesters of study in each level. Students failing to advance from 22xx to 33xx after three semesters will be placed on alert. Failure to advance after four semesters will result in dismissal from the music program. A student may petition the faculty for reinstatement of status with a formal letter explaining the extenuating circumstances and justifying the lack of jury performance. A letter of recommendation from the student’s applied teacher is also required.

  4. Failure to advance from 33xx to 44xx after three semesters will result in dismissal from the music program. A student may petition the faculty for reinstatement of status with a formal letter explaining the extenuating circumstances and justifying the lack of advancement. A letter of recommendation from the student’s applied teacher is also required describing the steps the student is taking to ensure a successful senior recital.

  5. In rare instances, a student may apply for a Faculty Approval Jury in the second semester of study at the 44xx level, with permission of the instructor. No student who has failed to advance will be eligible.

Senior Recital Requirements

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, the General Music degree and all contract Music degrees 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 the 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.

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 (MUS 4499) 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 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”.

The senior recital must contain at least 25 minutes of solo music (with or without accompaniment) from three of the four different historical periods: Renaissance/Baroque, Classical, Romantic, 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. These, too, must be the appropriate degree of difficulty. In addition, all senior recitals must include a chamber music ensemble piece of a minimum of five minutes duration. Two or more pieces may be combined to make up the five minutes. Students will choose these ensembles, in consultation with their applied instructors, and will be the primary leaders in rehearsing the ensemble piece and developing the musical quality of the music to be played.

Preparation for the Recital

  1. Plan a tentative recital place and approximate 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.
    • Be sure your planned recital has the right amount of music (minimum 25 minutes of solo material) and contains material from at least three stylistic periods (Renaissance/Baroque, Classical, Romantic, Modern.) as well as a 5 - minute ensemble piece in which you take the leadership role in preparation and musical decisions.
    • Begin researching your program notes. (Online sources, old programs, CD liner notes are good places to start. If you really want to be cool, try Groves Dictionary of Music or Baker’s Biographical Dictionary.) If you choose to use internet sources DO NOT simply cut and paste. Read your material and then SYNTHESIZE and DISTILL what you have learned into two or three sentences of biography and three to five sentences describing the music you are playing.
    • Check the old recordings that are in the library - you never know, there may be an LP with one of your pieces on it with some juicy liner notes.
    • If you are a singer, begin gathering translations for all of your non-English songs.
  3. Faculty Approval Jury
    • 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. Your assigned audition time will be posted on the main bulletin board on the first floor of Smith Hall and in the front lobby of Long Hall.
    • Program notes must be approved before playing the Faculty Approval Jury. Program notes are submitted to the applied teacher approximately three 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 Dr. Allard for possible revision and final approval. No one will be allowed to attempt the Faculty Approval Jury unless their program notes have been approved by Dr. Allard. The deadline dates will be published in the Recital/Studio class schedule and in the MUS 4499 syllabus you will receive.
    • A copy of your program, with timings for each piece, and the program notes you have written should be provided for each faculty member at the jury.
    • Plan your recital for two weeks or later after the approval juries to have time to incorporate suggestions for improvement and polishing you will read on your jury sheets.
    • A majority of the faculty present at your jury 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
presents

This is an official record that the faculty of the School of Music approves your recital. The above logo is in .png format. Simply right click on it and select “copy” from the menu. You can then paste it into your document where it can be resized to fit your program.

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

Here is an example of a cover:
Cover

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

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

The actual word: 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 birth date 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.

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:

This recital is presented in partial fulfillment of the requirements for the Bachelor of (Music Education)(Arts)(Arts and Sciences) degree. Mr. XYZ is a student of.... (Current teacher). If you’ve studied with more than one teacher you may add and has also studied with….

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 the Handel operas and oratorios. If it is an arrangement (something new added), say something about that person, also. A transcriber is someone who moves something from one key to another. Transcribers add no artistic value to the music so names are optional. The biographical portion of the program note should be about two or three sentences.

The most important part of the program notes is the information about the piece itself. Find something to describe about the piece - "After opening with a haunting melody in c minor, a second, livelier theme emerges. The movement reaches a climax with the first theme reasserting itself in a triumphant C major." A search of the internet will frequently bring you some information. Your applied teacher may also have copies of other senior recital programs where your piece has been performed. Ask to read those, read what you can find on the internet, think about the music you are playing and then synthesize that all in three to five sentences.

If it's a transcription of a song or an aria from an opera, that, too, must be included. For example, "Originally the concluding section of Mozart's Exultate 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 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 the song Lydia by Gabriel Fauré and is quite concise. The second describes Sonata in B für Klarinette und Klavier by Paul Hindemith and is a much more developed description:

Gabriel Fauré was a major figure in 19th and early 20th century French music. He was a composer, teacher and Director of the famous Paris Conservatoire. He is called the ’Father of French melodie’ for his adaptation of the German lied to French poetry and French sensibilities. French mélodie overflows with delicate detail, nuance, and concealed emotion, all while seeming effortless and simple. These features are all present in “Lydia”, which is sometimes tonal and sometimes modal. Lydian mode was commonly used for magical or dreamy songs of the period, and also offered an opportunity for a wonderful pun. The piece lacks a final cadence, suggesting true love goes on forever.

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 and names require marks above or below certain letters – here are some WORD shortcuts:

é (e with a forward accent) - Press “Control” and the apostrophe ‘together. Then type your letter –Fauré
backward accent – “Control, back-slash”, then the letter. (The back- slash is located on the top left of the number row.) ie. Après un Rêve, Voilà
circumflex ^ - “Control, Shift, ^ ”, then the letter. (The ^ is with the 6 on the number row.) ie. Aprés un Rêve
cedilla ç – “Control, comma” then the letter. ie. Façade
umlaut – “Control, Shift, colon”, then the letter. ie. Saint-Saëns, Müller
tilde ~ “Control, Shift, ~: then the letter (The ~ is with the back slash on the top left of the keyboard) ie Malagueña

  1. The Back Cover

Continue your program notes here if you need more room. The back cover may also be used for any personal ‘thank you’s’ you might wish to make. If, 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 can be gotten onto a page. In some instances, there will not be enough room for all the translations and program notes. In that case, a program insert will be necessary.

Der Nussbaum (The Nut Tree)
A nut tree grows in the front of the house
fragrant, airy, it stretches out its leafy boughs.
white rolls shining down
Many lovely blossoms grow on it;
gentle winds come to fan them affectionately.
     etc.
Lydia
Lydia, on your rosy cheeks
and on your neck so fresh and
the flowing gold that you unbind
the day that is dawning is the best;
let us forget the eternal tomb;
let your dove-like kisses
sing on your blossoming lips.
etc.
  1. Printing the Program

Most students choose to print the program themselves. You can also have them printed in the Trojan Center or any other print shop, but doing it yourself is the cheapest.

Estimate how many people you think might come to your recital and then print twenty more programs than that for good measure. Save at least two copies of your program to be filed in the music office after you’ve completed the recital.

  1. Recording

Each student is responsible for arranging to record his/her own recital. If you wish a professional level recording, contact the Music Office for a reference. There will be a fee for this service.

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: 11/27/2017