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The John M. Long School of Music Handbook

School of Music Mission

The mission of the John M. Long School of Music is to provide opportunities for undergraduate music majors, minors, and non-music and graduate music students to develop the musical skills, knowledge, and attitudes needed to become intelligent/artistic performers and/or consumers of music capable of making informed, independent musical choices. Additionally, the School of Music is a cultural resource for the University and the Troy community and provides appropriate services.

The purpose of the undergraduate music major within the School of Music is to provide educational experiences that will assist students in developing the musical skills, knowledge, and attitudes needed to pursue a viable career in the music profession. Each of the three possible tracks-specializations- provides courses to assist students in developing specialized skills, knowledge, and techniques in choral music, instrumental music, or a selected area within the music industry. The School of Music works in collaboration with the College of Education to provide experiences leading to music teacher certification in Alabama, and supports the University NCATE conceptual framework to develop innovative, informed, reflective decision makers. (The University NCATE conceptual framework is documented in the mission statement of the College of Education in both the print and electronic formats of the University undergraduate and graduate catalogs).

The purpose of the graduate professional educator certification program in the School of Music is to provide advanced, specialized music education experiences that will assist graduate students in developing the musical skills, knowledge, and attitudes needed to begin/continue a viable career as a professional music educator. The School of Music works in collaboration with the College of Education to provide educational experiences for advanced music students with traditional music certification and for advanced music students pursuing alternative music teacher certification in Alabama, and supports the University NCATE conceptual framework to develop innovative, informed, reflective decision makers. (The University NCATE conceptual framework is documented in the mission statement of the College of Education in both the print and electronic formats of the University undergraduate and graduate catalogs).

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 is 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 Theater, 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 the following Facility 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. 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. 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 Library page.

Music databases include NAXOS Music Library, NAXOS Music Library Jazz, Classical Singer, 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 – 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 – 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
Flute Ensemble – Dr. Heather Small
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
Trombone Quartets/Ensemble – Dr. Jason Sulliman
Trumpet Ensemble/Brass Quintet – Dr. Michael Huff

Music Applied Study (Private Lessons)

All music majors are required to take applied study. Music Majors will start at the 22xx level. At least 2 semesters are required at the 22xx, 33xx, and 44xx levels. After the second semester in each level, a successful advancement jury is required for the student to move to the next level of applied study.

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 applied study. Once you are assigned a teacher/level, your lesson will be added to your schedule.

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 meet with Dr. Allard to determine placement in applied study, and bring a copy of your transcripts, if applicable. If no applied study will transfer, you will need to take the 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 study) until completion of the Senior Recital.
  2. All music majors must successfully complete a jury performance at the end of each semester of enrollment.
  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 to the next level of applied study after three semesters at their current level will be placed on alert. If a student fails to advance after four semesters, he or she will meet for an advising session with his/her instructor and appropriate music faculty to determine a course of action.
  4. 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 public performance of the senior recital is the final examination in the sequence of applied study.

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 School of Music faculty members determines a student's readiness for a public recital performance. The Faculty Approval Jury will be scheduled each semester. Failure to perform the public recital (MUS 4499) within the semester of 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, and Modern, and be of a degree of difficulty published in your applied syllabus. 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.
    • Check with your accompanist, your family and your teacher.
    • Decide on two or three possible dates.
    • Contact the Music Office to reserve Long Hall Band and Choral Rooms: Facility Reservation Form
    • For Crosby Theater or Sorrell Chapel, fill out a Student Services Facilities Reservation form.
    • Be sure to include times to practice in the hall on your reservation form.
  2. Plan your program.
    • See the time and selection requirements above.
    • Program notes are required for each selection.
    • Vocal performance senior recitals will require translations for all non-English songs.
  3. Faculty Approval Jury
    • All students enrolled in MUS 4499 must perform a Faculty Approval Jury.
    • 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.
    • 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

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, April 16, 2018

Place (optional)
ie: Long Hall Band Room

Time (optional)
ie: 7:00 pm

Here is an example of a cover:

Program

presents

Alexandria Mixon, soprano
Becky Bush, piano

October 29, 2017
Long Hall Choral Room
2:30 pm

2. Inside the front cover
This is where the program selections are listed.

Your name, instrument/voice part
Your accompanist's name, piano
PROGRAM

(The actual word: PROGRAM as indicated above)

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

At the bottom of the program page, please include the following notification:

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 inside page

3. Opposite the program page (inside the back cover)

Program notes begin on this page. 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 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.” Research, think about the music you are playing, and then synthesize the information 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

4. 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.

Printing the Program

Students are required to have a printed program at their recital. 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.

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 an exam which all Music Majors must successfully complete. This also applies to transfer students. The exam 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 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/Keybord Lab

The 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/Class Piano lab is located in room 205 of Smith Hall. The lab is equipped with 15 student 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 student use are located in both Smith Hall and Long 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: 04/20/2018