Academic Program Assessment Report - Kean …kean.edu/~ncate/CAEP Accreditation 2017/SLO Assessment...

Academic Program Assessment Report COLLEGE: Visual & Performing Arts

PROGRAM: B.A. Music Education

ACADEMIC YEAR: 2015-2016

REPORT AUTHOR: Lyn Schraer-Joiner

PROGRAM STUDENT LEARNING OUTCOMES:

☐ SLO1: demonstrate competencies in the areas of musicianship, performance, aural skills, analysis, repertory, history, pedagogy and methods for success in the Music K-12 setting. (KU-1, 4) (GE-K3, K4, S1, S2, S3, S4, S5, V1, V2, V3, V4, V5) ☐ SLO2: describe the historical significance and structure of music literature representing various genres, styles, and cultures. (KU-1, 4) (GE-K3, K4, S1, S2, S3, S4, S5) X SLO3: demonstrate aural skills in sight-singing and ear training. (KU-1, 4) (GE-K4, S4, S5) ☐ SLO4: perform works representing various genres, styles, and cultures. (KU-1) (GE-K3, K4, S4, S5, V1, V2, V4, V5) X SLO5: rehearse and perform, in both large and small ensembles, works representing various genres, styles, and cultures Offer quality experiences rehearsing and performing in both large and small ensembles. (KU-3)(GE- K4, S4, S5, V1, V3, V4, V5) ☐ SLO6: teach vocal and instrumental music, grades K-12, in the State of NJ. (KU-1, 2, 3, 4) (GE-K4, S1, S2, S3, S4, S5, V1, V2, V3, V4, V5)

DIRECT MEASURE: DESCRIBE THE STUDENT WORK SAMPLE AND THE DIRECT MEASURE (E.G. RUBRIC) USED.

SLO 3

Direct: Individual student assessments of sight-singing and ear training skills both during class and during one-on-one sight-singing examinations MUS 4114 (Sight Singing and Ear Training (SSET) IV) A Sight Singing and Ear Training (SSET) performance rubric designed to reflect the individual student’s sight singing and ear training skills. A departmental SSET rubric contains 6 criteria (i.e. set up key/pitches; set up the rhythm; maintain key/scale; sing accurate pitches; accurate rhythm/tempo; ability to recover; continue) and is evaluated on a 5 point Likert scale (5=Exceeds Expectation). Target

A rubric criterion score of 4 or higher indicates that students have either met or exceeded expectations. Since this is an upper level course, the expectation was that 95% of students would achieve a score of 4 or higher on each criterion. SLO 5

Direct: Performance skills of the individual student are assessed during both large ensemble rehearsal and during one-on-one performance examinations. MUS 3868 (Wind Ensemble); MUS 3800 (Concert Choir) A departmental solo and ensemble (Wind Ensemble and Choir) performance rubrics designed to reflect the individual student, ensemble section, as well as overall ensemble performance is used. For example, the Wind Ensemble rubric is comprised of a 4 point Likert Scale. Criteria for wind, brass, and percussion students’ performance includes rhythmic and pitch accuracy, intonation, blend, balance, technique, musicality, tone , phrasing, and style. Ensemble directors evaluate ensemble preparedness on an individual student basis throughout the semester. All ensembles perform each semester and all performances on campus are viewed by faculty and the public. Ensemble directors evaluate ensemble preparedness on an individual basis throughout the semester. Each ensemble director engages in ongoing qualitative observation and evaluation of their ensembles. Feedback on students’ individual and group performance is giving consistently in specific areas of music performance technique and interpretation. Please note that the data herein represent a sample of the ensemble experiences offered to Kean University students (i.e. Chamber Winds, Chorale, Jazz Ensemble, and Percussion Ensemble.) A departmental solo/ensemble music preparation rubric contains 10 criteria (Timbre and Tone Quality; Rhythm; Pitch, intonation, tuning; Dynamics; Phrasing; Expression& Communication; Accuracy & Clarity of Notes; Articulation; Nuance & Style Markings; Memorization) and is evaluated on a 10 point Likert scale (9-10=Exceeds Expectation). Target: Rubric criterion scores will differ based upon the student’s year of study and level of music difficulty. For First year music education students, an acceptable rubric criterion score is a 3; for second year music education majors, an acceptable rubric criterion score is a 4-5; for third year music education majors, an acceptable rubric criterion score is a 6-7; for fourth year music education majors, an acceptable rubric criterion score is a 8-9; for second year music education majors, an acceptable rubric criterion score is a 9-10. The expectation was that 85% of students would achieve the criterion for their year on each criterion.

DATA COLLECTION AND RESULTS, SLO 3:

Semester(s): e.g. Fall 2015, SSET IV

Number of students: ___15__ Number of sections: ___1___

Mean scores overall:

Category/Criterion Mean

Sight-singing Test #1 87.6




Ear Training Test #1 92.86667



Homework Units I, II 94.333

Homework Units III, IV 93.7

DATA COLLECTION AND RESULTS, SLO 5:

Semester(s): __Fall 2015, Wind Ensemble, MUS 3868 ____________

Number of students: __22__ Number of sections: ___1___

Mean scores overall


Midterm Ensemble Playing Assessment

76.25

Final Ensemble Playing Assessment

94.5

Semester(s): __Spring 2016, Wind Ensemble, MUS 3868 ____________

Number of students: 25 Number of sections: ___1___

Mean scores overall


Midterm Ensemble Playing Assessment

61.5

Final Ensemble Playing Assessment

90.5

Semester(s): __Fall 2015, _Concert Choir, MUS 3800__________


Mean scores overall


Midterm Singing Test 89.4

Final Singing Test 100

Concert Performance 100

Semester(s): __Spring 2016, _Concert Choir, MUS 3800__________


Mean scores overall


Midterm Singing Test 88.72

Final Singing Test 100

Concert Performance 100

Distribution of Scores:

SLO 3

MUS 4114 (Sight Singing and Ear Training IV, Fa 15) A 5 A- 4 B+ 0 B 3 B- 2 C+ 1 C 0 C- 0 D+ 0 D 0 D- 0 F 0 Total 15

SLO 5

MUS 3868 (Wind Ensemble, Fa 15) A 22 A- 0 B+ 0 B 0 B- 0 C+ 0 C 0 C- 0 D+ 0 D 0 D- 0 F 0 IN 0 Total 22 MUS 3868 (Wind Ensemble, Sp 16) A 22 A- 2 B+ 0 B 0 B- 0 C+ 0 C 0 C- 0 D+ 0 D 0 D- 0 F 0 IN 1 Total 25 MUS 3800 (Concert Choir, Fa 15) A 20 A- 14 B+ 1 B 1 B- 0

C+ 1 C 0 C- 0 D+ 0 D 0 D- 0 F 0 IN 0 Total 37 MUS 3800 (Concert Choir, Sp 16) A 27 A- 6 B+ 3 B 0 B- 0 C+ 0 C 0 C- 0 D+ 0 D 0 D- 0 F 0 IN 0 Total 36 Discussion of Findings:

SLO 3 MUS 4114 (Sight Singing and Ear Training IV) (FA 15) MUS 4114 has three perquisites, Sight Singing/Ear Training I, II and III. Upon completion of MUS 4114 students are expected to sight read fluently as this is the fourth of four courses in sight singing and ear training (music literacy as required by National Association of Schools of Music (NASM), our accreditation agency.) Specifically, students must demonstrate the ability to sight sing melodies that are both diatonic major and minor as well as chromatic major and minor, as well as accurate melodic dictation skills at the same level, including chord analysis. The course is divided into two general areas, sight singing (reading music at sight) and ear training (writing music down upon hearing it, involving melodic dictation, chord progression, and rhythmic dictation.

MUS 4114 continues the intervallic approach begun in MUS 3113, which students find difficult as there is a lack of tonality present in music of Bach, Mozart, etc. because of the 20th century idiom. Minor keys are introduced as well, one of the more difficult concepts for sight singing students to grasp. All of our SSET courses incorporate a Kodaly-based system of moveable do. The faculty felt that this was the best approach as it aligns with Kean's emphasis upon both vocal and instrumental music education. Additionally, it was believed that such an approach would also help to strengthen our students SSET skills as many of them come to Kean with little or no sight singing experience - this despite their talents as performers.

As part of SSET IV, I I have devised many original techniques for our Kean students, particularly in the areas of rhythm, such as finger tapping subdivisions while sight singing, singing tendency tones as a way to hit notes on any part of the scale--whatever it takes for them to be successful. Four sight-singing and three ear-training tests were admininstered in the fall of 2015. This in addition to four unit homeworks (text with CD) which enables to students to practice their SSET skills at home. I decided to administer the seven tests throughout the semester with greater emphasis on sight singing as per NASM’s requirements.

The Fall 2015 cohort in the area of ear training did better with melodic dication than with chord progressions. Because of this, I found that I needed to marry written theory with eartraining so that they could see the correlation and relevance of both. I found also that the students were stronger when sight singing in major keys as opposed to minor keys. As a result, I started to focus on minor keys earlier than planned to ensure their versatility in both major and minor keys at the end of the semester. I also continue to find that my students sing better in groups than individually and have started to incorporate more individual singing in the classroom.

SLO 5

MUS 3868 (Wind Ensemble) (FA 15) The Wind Ensemble (MUS 3865) serves as the primary large instrumental music ensemble in our music department. All instrumental music majors are required to participate in this ensemble for a minimum of seven semesters. Other instrumental music ensembles currently available to students include: Chamber Winds, Jazz Ensemble, and Percussion Ensemble. As with all music ensembles, this course is an ongoing course throughout the school year. Typically, the literature performed during the spring semester is more challenging than that offered during the previous fall semester. Literature selected for the ensemble is different every semester, thereby allowing students to repeat the course without simply repeating the literature. The repertoire selected for performance by the ensemble is drawn from recognized masterworks of the past 400 years for the medium. This ensemble is composed of students at all levels, freshman – senior. It is understood that while students have different levels of performance ability, that the most important outcome is that of a collective effort. To that extent, section leaders are often called upon to assist younger members.

In addition to preparing for public performances, students work on developing ensemble performing skills such as phrasing, intonation and blending of sound. Considerable time is spent in developing the students’ skills in performance interpretation according to criteria such as: the time period in which the selection was composed, the nationality of the composer, the overall style of the work, etc. The first part of the rehearsal is generally used for warm up and the development of basic manual and oral performing skills. The balance of the rehearsal time is typically used for the preparation of public performance works. Students are coached on the importance of attending rehearsals prepared to contribute to the rehearsal as opposed to expecting to simply use the time to learn their part. Students who are deficient in their preparation for rehearsals may be asked to attend a private session with the conductor. Students also spend time, both in and outside of the class time, working in smaller instrumental sections of their parts. Assessment is a constant in the training of young musicians. With a large contingency of the past school years’ leading ensemble members having recently graduated in May, I knew that this would be a telling semester. In fact, this was an extremely productive semester. Students worked very well together throughout the semester to develop their individual and ensemble skills. The end result was an excellent concert performance. In addition, the confidence of the ensemble members was elevated significantly. The four attached summary reports show the breakdown of the grading for four selected works. The title of the works can be found at the bottom of the page. Nine technical and musical aspects of the ensembles collective performance were measured on a scale of 1 – 5. The sub score is an overall score for each of the works. The cumulative score for all four works is also provided. As can be seen from the Fall 2015 Final Semester Assessment Data Summary, the collective performance level of the ensemble improved significantly from 76.25 at mid-semester to a final score to 94.5. MUS 3868 (Wind Ensemble) (SP 16) Literature selected for the ensemble in the spring semester was markedly more challenging than it had been in the fall semester. Ensemble members were confident and even requested a more difficult program. They soon discovered the need for more time to prepare. In addition, they required constant encouragement in their preparation due to the steep challenge that they faced. However, in the end it was a rewarding experience for the ensemble members. More rehearsal time was spent in small groups, often lead by upper-class students. The musical growth for many of the younger members was significant, making their performance all the more rewarding and enjoyable. Although the score as seen in the Spring 2016 Final Assessment Data Summary was not as high as that of the fall semester, it is important to note the challenging level of literature being performed. In fact the greater musical growth of the ensemble occurred in the spring semester in spite of the slightly lower scoring as compared to the final results of the fall semester.

MUS 3800 (Concert Choir) (FA15) Choral-Orchestral Pieces and Interaction with Professional Musicians

Each fall semester, we focus on the study of major choral compositions which we perform with orchestra in Enlow Hall. In Fall 2015, the combined Concert Choir and Alumni Choir performed one of the most difficult and famous choral-orchestral works, the mighty Mozart Requiem, K. 626 as part of a program The Dramatic Choral Music of Wolfgang Amadeus Mozart. The repertoire for this concert also included Mozart's Missa Brevis in F Major, K. 192 in which the students experienced a very different style of Mozart, music of his youth which was characterized by humor and rhythmic inventiveness and Laudate Dominum which is written in his operatic manner of composition. The Missa Brevis was performed by the Chorale, a smaller select ensemble taken from the large choir with a focus on vocal chamber music. Choir Tests and Grading To prepare the students for our concerts, the students are tested on their music, something which occurs in relatively few choral programs in the U.S. In Fall 2015, they had to perform some of the most difficult movements of the Mozart Requiem: Requiem, Confutatis, and Rex Tremendae. They are tested one on a part (soprano, alto, tenor, bass) so that each singer is graded on his or her individual skills. They receive a rubric for what criteria constitutes grades of A, B, C, D, including pitch accuracy, rhythm, correct diction, tone quality, etc. If students receive a grade of lower than B, they are allowed a retest, which ensures that almost all singers eventually bring their performance up to a high standard for the concerts. We have attached a sample choir test mp3 to our report. Over the course of the semester, the students demonstrated much progress in their singing of these difficult concert works. Student vocal assessments are attributed to the hard work and effort they out into rehearsals, individual practice, as well as time spent in repertory classes and private lessons. MUS 3800 (Concert Choir) (SP 16) Choir Tests and Grading Spring 2016

The choir tests use to assess student performance in Spring 2016 followed the same procedures as in Fall 2016, but with different repertoire. One work continued the focus on classical repertoire (Handel’s How Excellent from the oratorio Saul), but three others represented the one of our world music groups, the African-American spiritual/gospel tradition: Precious Lord (Martin Luther King’s favorite hymn, studied in conjunction with Black History Month), He Never Failed Me Yet (a rousing, modern gospel-rock piece performed with drums, onstage

movement and call and response interaction with the soloist), and finally Moses Hogan’s thrilling arrangement of the old spiritual Elijah Rock which invariably brought the house down at the end of our concerts.

Curricular Actions/Closing the Loop:

SLO 3: MUS 4114 (Sight Singing and Ear Training IV) (FA 15) Over the past two years, it has become apparent that students have been overwhelmed with the atonal curriculum of MUS 4114, specifically materials featuring intervals without a tonal basis and characteristic of much 20th century music literature. Consequently, in 2015 I decided to move some of that material into Sight Singing and Ear Training III (MUS 3113). This meant that this class would then focus upon 2nds, 4ths and 5ths while 3rds, 6th's and 7ths would then be the focus in MUS 4114. This has worked out well for our students as evidenced by their ability to better grasp and apply the materials. In order to accomplish this, additional changes were also made (i.e. moving major key chromaticism from MUS 4114 back one semester so that it would be focused upon in MUS 3113. Minor keys were also moved to later in the SSET curriculum such that that they would be focused upon in MUS 4114. The emphasis on major key chromaticism in MUS 3113 has since worked well for our students as it is a logical building block from diatonic major keys. This, this will remain the approach for the next year. However, my SSET students still seem to struggle with minor keys though this seems to be the case regardless of which semester I introduce this concept. Therefore, I intend to maintain the content in SSET IV for the next year but will be introducing different SSET exercises (Edlund, 2016; Fish & Lloyd, 2015, p. 22)1 which will support additional connectivity between Theory III and IV.

SLO 5: MUS 3865 (Wind Ensemble) (FA 15-SP-16)

Students of MUS 3865 (Symphonic Wind Ensemble) are apprised on a weekly basis of the musical

selections to prepare for each upcoming rehearsal by means of a bulletin board posted outside of my

office. I have come to realize through discussion with students that it may be even more helpful to

them to prepare if I were to provide specific sections of the works that I would like them to prepare.

Most of the students from this ensemble assisted with the Wind Band Symposium that I hosted in late

February. Since most of the students are music education majors most students found this to be a

rewarding experience and were encouraged by the number of participants who attended. The students

are looking forward to my repeating this event, which is designed to attract high school students to the

music program at Kean.

1 Edlund includes sight-singing exercises in major, minor, and modal tonalities with increasing chromaticism.

Supplementary sections also include rhythmic, figured bass, and keyboard harmony exercises; Units III, VII, and VIII

from the Fish & Lloyd Text emphasizes minor thirds, triads, and the minor scale.

MUS 3800, SP 16 (Concert Choir, (FA 15-SP-16)

The overall trajectory of the choral program is working well and will be continued for 2016-2017—choral/orchestral masterworks in the fall along with solo and small group repertoire including opera selections to develop vocal talent. We will also perform outreach recruitment concerts in local public schools, feature world music selections and a choir tour in the spring. The Alumni Choir added so much to the Fall 2015 semester in terms of choir numbers and connection with Kean’s musical heritage; I plan to expand this and do a big concert with alumni for Homecoming as well as our fall Enlow Concert (possibly the spring, too, depending on how the fall semester goes). We are currently working with VP Connelly to develop a choir tour to Wenzhou-Kean and Beijing at some point in the future, hopefully this can become a reality for Spring 2017. Consequently, our repertoire will include Chen Yi’s arrangement of the Chinese folksong “Mo Li Hua” (we now have three Wenzhou-Kean students in choir who can help with the pronunciation.) Also we are planning to perform music of Eric Whitacre, a 21st century composer who writes in a style of chord clusters (he calls it his oven mitt approach in which all the notes of the keyboard are heard.) We have not sung any music of the great British composer Ralph-Vaughn Williams, so I will try to include that as well. Supporting Evidence (data):

PLEASE ATTACH DETAILED EVIDENCE (DATA) TO SUPPORT YOUR FINDINGS TO THIS REPORT.

The following support documents are attached:

Wind Ensemble Midterm assessment, Fall 2015

Wind Ensemble Final Assessment, Fall 2015

Wind Ensemble Midterm assessment, Spring 2016

Wind Ensemble Final Assessment, Spring2016

Music Department Solo Evaluation Rubric

Choir grades, Fall 2015

Choir grades, Spring 2016

Choir Test 1 grades, Fall 2015

Choir Test 1 grades, Spring 2016

Criteria for Sight Singing an Ear Training Assessment, Fall 2015

Please check this box to indicate:

X Supporting Evidence (Data) is attached.

Implications for Resources Needed/Budget Allocations There are two urgent needs of the Conservatory of Music that must be addressed in order for us to accomplish our missions, goals, and objectives, and meet accreditation standards:

1. make specific, critical improvements to the classroom section of Wilkins Theatre 2. replace six private studio adjunct positions with six Half-Time Instructor positions (as in

the School of Ed) in voice, percussion, brass, woodwinds, and strings; these service-oriented faculty will recruit music majors through public schools outreach visits

I. IMPROVEMENTS TO WILKINS To bring the classroom section of Wilkins to an acceptable standard, we need to

A. Install a new thermostatically and humidity-controlled HVAC system

B. Correct acoustical issues that are creating major health risks for students/faculty hearing.

While we are addressing these absolute musts, at a much more modest cost we should also:

A. Improve the aesthetics of the building as Wilkins is visited by many thousands of

people each year. As I discussed with VP Phyllis Duke this past year, this should include:

replacing the floor tiles which are either broken or of many different colors

replacing the wooden doors that are beaten up and provide no acoustical isolation, and

replacing the light fixtures which are unbelievably unattractive and out of date.

B. Plan a useful configuration of our four large rooms—TPA 119, 120, 143, 141, along with specific items for each of those spaces

C. Budget for three or four additional student workers @ 20 hours per week to

monitor the Music Library (Room 111) and Technology Lab (Room 119) Save for the theatre and lobby that adjoins it, the appearance of the music wing of the building is an embarrassment when compared to the many beautiful buildings on campus. (See photos of Wilkins below). Many visitors to Wilkins come through these spaces as well, and they are used by probably thousands of people as well who rent these spaces (NJ Ballet and numerous children’s performance organizations who use our spaces and parade up and down our corridors from 143 to the stage).

It is complete contrast to our performance space, Enlow Hall, which fortunately is truly world-class and the envy of many musicians in the NYC/NJ area, as well as all of our guest artists. Wilkins Rehearsal/Classroom 143 (photo 1) a Wilkins practice room Rehearsal/Classroom 143 (photo 2) Wilkins Wooden Practice Room Door

Wilkins Classroom 120 (photo 1) Classroom 120 (photo 2) Rationale: Why is it so important to address the issues of HVAC and acoustics in Wilkins?

A. The extreme hot and cold temperatures in the classrooms and offices create major health problems for the faculty and students in the building. (Please see Appendix A for a list of student and faculty comments about this issue). Because Wilkins 119 and 120 classrooms are so hot, the students and teachers in those rooms often sweat and become listless due to the heat. Yet at the same time, students often wear their coats as they are freezing in 141 and 143, at the other end of the building. The four classrooms—which are usually full-- are completely disparate in temperature. Similarly, the offices are so cold in winter that most faculty members use space heaters, creating overload on the electrical circuit boxes so fuses often break. Ken Kimble and our HVAC staff have tried for years to fix these problems by shifting air with the vents, but they cannot. VP Duke agrees the HVAC system is beyond repair.

B. The HVAC duct issues are so bad that only one musical event at a time can be scheduled in the theatre, 143 or 141; this is because sound/ductwork is shared by all three large spaces. We have had major public relations catastrophes when sounds in 143 have been heard in the theatre. (Witness one event where the president had to rush out of Wilkins to ask the musicians in 143 to play more quietly to avoid a debacle in the theatre). It should be noted that the HVAC issues in Wilkins are shared by TEMPO (Theatre Management Office who administrates Wilkins Theatre). During performances in Wilkins, the HVAC system is so loud that softer music is often inaudible. Their HVAC issues should be addressed as well, since so many thousands of people visit Wilkins and it is outsider’s first impression of our university. It seems obvious that Wilkins HVAC system must also be exceptionally cost inefficient, as the huge lobby is often filled with cold air for 4-5 months of the year in order to balance the other parts of the building. And, the current climate control problems mean the pianos and other instruments constantly go out of tune—costing more money. Our guess is that the maintenance costs of Wilkins could be greatly reduced.

C. Lack of a Good and Consistent Student Concert Space

The administration is as generous as it can be with Kean Hall 127, but there are many other competing departments on campus which regularly schedule this room. In the last year or so, we have also had more access to Enlow Hall. We strongly encourage the administration to use Enlow Hall for all Senior Recitals and 3:30 Student Recitals in Enlow, as these could be marketed as Community Outreach Concerts. (These only total 20-25 concerts per year, and already about half of them are already in Enlow). To the administration’s credit, a lot of progress has been made in this area, but this should become policy rather than a case by case negotiation. For smaller, everyday performances, a student recital space attached to Wilkins would be the ideal. (The Music Dept. expansion of 1996 was initially planned to include this).

D. Planning for Large Rooms 119, 143, and 119 Room 141 Although small, Room 141 also has some possibilities for small-scale performance as the acoustics are good; we should look at various room configurations including the installation of a small stage in the triangular corner of the room. Unfortunately, this room can hold approximately 60 students. Storage is a huge issue in 141 and 143 as a great deal of our space is taken up by risers and other items that are Wilkins Theater equipment. These need to be removed. Room 143 Room 143 has two problems that must be addressed, the first one an urgent health concern as it involves student/faculty hearing which is severely impacted: 1. Bring in an acoustician to correct the major and harmful acoustical problems, based

on studies conducted by Dr. Schraer-Joiner and Dr. Connors.

Between Spring 2012- Winter 2013, 28 music majors voluntarily wore dosimeters (a specialized sound level meter) in order to measure their exposure to everyday noise. Measurements took place over two time periods: 4/19/12-5/10/12 and 10/9/12-1/29/13. A total of 16 students participated during the first period and 17 participated during the second period. Students wore the dose badges for two days over a two week period. They were encouraged to select two different days in their schedule for the purpose of measuring sound levels in the various environments in which they attended class.

An analysis of the data collected revealed that the hours between 12-3:15pm and 4-6:30pm yielded the highest noise levels for the music students who participated (levels of between 100-120dB for 1-3 hour periods). These time frames align with major and minor ensemble rehearsal times (Chamber winds, Jazz Ensemble, Choir and Chorale) in the music department. (Please see page 2 of Dr. Alan Gertner’s report (attached) for information relating to hazardous dB levels). During the Spring of 2016, Dr. Gertner used an SPL meter to measure sound levels during a Wind Ensemble rehearsal in PA 143. An SPL Meter is a professional-grade sound level meter, also known as a decibel or dB meter. An analysis if of the data collected over the 2 hour rehearsal revealed that sound levels in some cases peaking at 106dB. Based upon our findings and discussions with Dr. Gertner, it is critical that we address our rehearsal facilities as they pose a serious health risk to our students and faculty. Dr. Gertner’s findings and recommended modifications to our rehearsal and practice spaces are detailed in the attached report. We hope to have a discussion on this serious matter in the near future. The solution to Room 143’s acoustical problems should not be to simply reduce volume as some ensembles (Concert Choir) require the current volume. A variable acoustic treatment for the room would be ideal, much like what we have in Enlow with a curtain or panels that may be either open or closed depending on the ensemble using the room.

2. In addition to correcting the acoustical problems, Room 143 must have a storage

area constructed in one corner for the percussion. This has been a project that has been put off for the last twenty years.

3. Removing risers from the Theatre to another location as they take up a lot of space

in this room and 141. Room 119

Please see Appendix B for PA 119 Upgrade Proposal Documents, and Dr. Mathew Halper for budget figures. E. The current condition of Wilkins will be a major accreditation problem in 2019-2020.

As noted earlier, our primary performance space--far exceeds accreditation standards. However, because of its issues, our classroom and rehearsal spaces-- the classroom section of Wilkins--has been flagged by NASM as completely substandard in the last two music accreditation visits. The next accreditation will occur in 2020. With the notable

exception of Enlow Hall, in 2010 we were marked in violation of accreditation standards in the area of facilities and this will surely resurface again if these issues are not corrected. The above mentioned issues were noted in the 2000 and 2010 NASM Visitors Reports:

It is hardly an overstatement to say that the classrooms seemed to the visitors to be inadequate and inappropriately configured for music instruction. Significant extraneous noise was constantly present, including a heating/air-conditioning system that, in one room, was so loud that the professor had to raise his voice to be heard above it. Temperature control appears to be quite variable throughout the building, with some rooms routinely too hot and others too cold, which has a deleterious effect on the instruments in them. Locks throughout the building might be described as “quirky” at best. In sum it is not clear how the space, facilities, and equipment meet the following standards (H.B., p. 62, II. F): adequate for the effective conduct of music unit functions; adequate to support curricular offerings; appropriately specialized for advanced work; environment conductive to learning; and sufficient to enable faculty and students to focus on artistic and academic endeavors. (2000 NASM Report) It does not appear that the facilities meet NASM standards that state “space allocated to any music unit function must be adequate for the effective conduct of that function” (NASM Handbook 2009-2010: December 2009 Edition, II. F. 1.). Ensemble rehearsal rooms do not appear to be appropriate to their function, either in terms of configuration or acoustics. The acoustics and configuration of the primary performance spaces currently in use by the music department appear to be inadequate. While the institution has built and opened an acoustically pristine concert hall (Enlow Hall), it does not appear that the music unit has regular access to it. While the student recital was performed for the visitors in Enlow Hall, it appears to be one of the two times in the course of the year in which students will be allowed to perform there. In addition, practice and private teaching rooms appear to be small and inadequate acoustically. (2010 NASM Report)

Recommendation We believe our administration wants high quality across the board. We therefore should have consistently good, appropriate facilities for music education and rehearsal as well as performance, and bring the classroom section of Wilkins up to the standard of other buildings on campus.

1. The best long term option is expanding Wilkins into a Performing Arts Center,

probably building a 2nd floor above the current space. I received an email proposal

for $40,000 from the Mike Howard (www.perfarch.com), one of the leading performance architects in the USA, to design a renovation for Wilkins.

2. If sufficient funding is not available for the building to be expanded, at a minimum

we need to realize the serious upgrades to Wilkin’s current spaces discussed in this assessment report:

installing a new HVAC system with thermostats and humidity control, and ducts that do not allow for any sound travel between rooms

correcting the major acoustical issues in Room 143

installing new sound proof metal doors, new flooring and ceiling treatments, and possibly turning 141 or 143 into a mini performance space.

We believe this could be done for under $1,000,000—a refurbishing of the existing spaces. This is based on the comments of a former VP for Facilities and Planning, Eduardo Del Valle, who told us that a new HVAC system would cost $225,000 about ten years ago.

Also, it seems clear that a Wilkins renovation could also have some major naming opportunities for the Kean Foundation: 1. Naming the building (including Wilkins Theatre) as the ___ Center for the

Performing Arts. The major hall seating 900 people is ready made and serviceable 2. Naming the Music Wing TPA 111-150 as the ____Conservatory of Music 3. Naming Individual Spaces such as 141 the ___Performance Room, 119 the (Yamaha

Keyboard) Technology Lab, etc.

http://www.perfarch.com/

II. HIRE SIX TEMPORARY HALF-TIME INSTRUCTORS TO RECRUIT NEW MUSIC MAJORS $90,000 per year for three years Hire Six Temporary Half-Time Instructors to Recruit New Music Majors beginning Fall 2016:

Beginning Fall 2016, we request six half-time instructor positions to replace six adjuncts in the area of private studio faculty in five disciplines: voice (2 as we have by far the most voice students), strings (1), woodwinds (1), brass (1), and percussion (1). We are not including piano as we have a full-time faculty member in that discipline, Dr. Martha Marchena. There is a clear precedent for this type of position at Kean as the School of Education has 15 half-time instructors who handle student teacher evaluations. This category of half time instructor was suggested to us by HR in Dec. 2012, and received positive comments from HR Director Mr. Faruque Chowdhury at that time. The part time private studio faculty have always been the most effective in recruiting new music majors to Kean. Young musicians are attracted to a school primarily because of who they will study their flute, clarinet, or piano with. It is the most important faculty member for them. This is the most important faculty member for most of our majors. Performing faculty such as Voice Professor Richard Hobson and Percussionist James Musto can bring down a high school auditorium and work with young musicians the way another faculty member giving a speech or presentation cannot. The full-time faculty does all it can by calling students, running Open Houses, and putting on concerts in area public schools. Before 2012, however, what produced the most music majors in our department were the master classes of our private studio professors in the public schools. These were very effective 1998-2012, but since all of them became adjuncts in 2012, we have not had a significant presence in the public schools except for the choir and full-faculty visits in Elizabeth, Summit, Clifton, etc. Like all faculty positions and unlike adjunct positions, these half-time instructors would include a service component and 17.5 hours of work. This is extremely important for us as it would involve public school recruitment and performances on campus (it is also possible the performances could also be written as non-teaching contracts). The positions involve six credits of teaching with a potential for 3 credits overload. We would ask a minimum of step 8, $30,000, for a Half Time Instructor position, as 1. Our adjunct private studio teachers currently earn $15,600 annually for teaching six credits in both the fall and spring semesters combined with no service work in recruitment. They still do a lot for the students (gratus) such as prepare senior recitals, attend performance juries, attend auditions, etc.

2. Many of the faculty members we would consider for these positions have worked at Kean for more than 10 years, so step 8 is completely appropriate (Kathy Harris, voice, 1996, Richard Hobson, voice, 1998, James Musto, percussion, 1998, Charles Bumcrot, brass, 1998. Since the current adjuncts earn $15,600 per year, each $30,000 half time instructor position would cost an additional $15,000, making a total of $90,000 per year. We should try these positions for three years, and if a significant increase in recruitment occurs (which would justify the expense in terms of tuition dollars as well as bringing up the size of our ensembles, etc.) we should make them permanent.

Appendix A: Faculty and Student Comments about How HVAC issues in Wilkins Impact Our Student’s Music Education Wilkins 119 The piano lab (Wilkins 119) is overly hot and oppressive.....students become lethargic after a while and pay less attention....I, frankly, am exhausted from lecturing and teaching in such heat....... Dr. Myron Leshowitz, Adjunct Piano Faculty Wilkins 120 These rooms often have unbearable weather conditions and are very distracting while trying to concentrate in class, and most music classes are in the aforementioned rooms. Also, there are often bee hives outside the building and when brought to the attention of workers it takes several days to be taken care of and with some fellow students being allergic I feel Kean takes far too long to resolve those issues. In TPA 120 even with the windows open the room is normal far too hot, TPA 141 and TPA 143 switch between being too cold and too hot throughout the year I believe the heat is put on during the spring and the AC on during the winter, which obviously should be switched around. Colin M. Dowling, B.A. in Music, Class of 2016 The electronics and window blinds in room 120 were continuously broken throughout the semester. Blinds and parts of the projector hung off of the wall and windows and were a hazard to students. We had to make sure to sit away from them in fear of the objects falling on us. Meghan Carroll, B. A. in Music Education, Class of 2018 Wilkins 141 and 143 When the Symphonic Wind Ensemble rehearses, there is far too much volume; by soundproofing, the ensemble would be allowed to focus on tuning, balance, and the rehearsal instead of the overwhelming volume in the room. Additionally, the rooms are always either too hot or too cold, leading to uncontrollably poor tuning of the entire ensemble and possible damage to assorted instruments, such as my own (wooden clarinet). Lisa Allgauer, B.A. in Music Education, Class of 2018 Throughout my career at Kean University, the temperature control in rooms 119, 120, 141 and 143 have impacted me personally and my classes. With extreme temperatures daily, I have needed to dress for both Summer and Winter every day, no matter what the season. This impacts my success as a vocalist and the condition of the variety of instruments I play with my major. The weather temperature impairs the successful playing of all instruments including the pianos, and the various string and brass instruments. I thoroughly enjoy being a music education major at Kean University and would suggest for these changes to occur to assist in the growth of our excellent program. Nicole Olearchik, B.A. in Music Education, Class of 2017

Typically a big problem is during the winter months where the building becomes so cold it makes it nearly impossible to practice. It becomes so cold that our fingers are freezing up to the point where it makes it hard to move them this which has a negative effect on our practice schedule. This could apply to not only personal practice, but the method classes in which the cold could affect our bodies as well as the instruments we possess. We need to have efficient method classes in order to not only prepare for music proficiencies, but to also use the skills gained during the classes to teach in the music classroom. That becomes difficult when we're too focused on the cold to move and concentrate properly. Kriscendra Jones, BA in Music Education, Kean University Graduate 2016 Wilkins Theater's Music Department is never comfortable in any area...the cold punishes students who wear appropriate clothing for the weather in the warmer months, specifically students who live on campus and have to carry a coat constantly because the heat and cold are so unpredictable. 119, 120, 141, and 143 can get sweltering and they do have some of our most challenging classes (Concert Choir, Class Piano, Computer Applications, Music Theory, and more). It is extremely hard to focus, especially to really think about some of these abstract and delicate concepts, with the temperature as it is. Ari Fiekowsky, B.A. in Music Education, Class of 2019 The heating and cooling conditions in Wilkins are very distracting to my learning. During my conducting class in room 143, for one example, we had to wear winter coats in order to stay warm during class. This was especially detrimental to the classes performance because we could not see the details needed when learning to conduct. Meghan Carroll, B. A. in Music Education, Class of 2018 From what I can tell, the temperatures in all of the rooms vary from extremely hot in the summer and freezing in the winter, especially in 143 and 141. This concerns me greatly as a percussionist not only for comfort during lectures, but also because sensitive equipment such as pianos and timpani can become damaged from it. Soundproofing in practice rooms and rehearsal spaces would be great too. Someone from Kean tested the decibel levels in 143 during a wind ensemble rehearsal and stated the level of sound was dangerous to both students and faculty. Daniel Barnett, B.A. in Music Education, Class of 2017 Being a vocalist, my body is my instrument. Traveling between the extreme heat in classroom 120 or in any of the practice rooms to the extreme cold of PA 143 and PA 141 is very detrimental to the voice. The vocal chords swell and constrict very rapidly which make it harmful to sing and, in some cases, cause medical issues which delay the progression of education understandably. Off of the subject of temperature, the pianos in our practice rooms are often left un-tuned. Every single musician will need to use a piano at some point, and to have them in such a state of tuning is disheartening and frustrating. Having to try to match pitch with an instrument that is not accurately pitched makes it difficult for students and faculty to perform to their fullest potential.

Jessi Messuri, B.A. in Music & B.A. Teacher of Students with Disabilities K-6, 2017. TPA 141 and 143 are not sound proof and the sound created during rehearsals of Percussion Ensemble, Wind Ensemble, Music Education Lab, and Choir is dangerous for both students and teachers. Many percussion instruments are also left out in the open. It is very difficult to prepare for Percussion Ensemble and Wind Ensemble rehearsals. The instruments also become damaged over time from being moved and from students writing on the instruments/using them for desks during and between classes. Leah Ciranni-Flakker, B.A. Music Education, 2017 Even though I’m not a music major, I have been a part of the Kean University Concert Choir, Chorale and Men’s Chorus for the entirety of my college career. I also was Dr. Terenzi’s Student Assistant for the last two years. In the rehearsal spaces we use for choir rehearsals (TPA Rooms 120 and 143), I have noticed many times that the weather conditions can be considered unbearable to rehearse in. Room 120 during the spring semesters can be close to a sauna at times. The ceiling fans in that room help a little, but it is not enough. Even with the windows open, it can still be unbearably warm. Room 143, on the other hand, alternates with heating and cooling, which is really annoying. There needs to be a more consistent control of the heating and air conditioning in these rehearsal spaces. I also would like to make mention of the time there was a wasp infestation inside Wilkins, and from what numerous people have told me, TPA 119 (the piano lab) had a bunch of wasps in there. We had to call an exterminator to take care of the wasps. Nicholas Buonvicino, B.A in Communications/Media, Class of 2016 "Feast or famine" that's the only way to describe the temperature control (rather lack thereof) at Wilkins classrooms and practice rooms. The cold causes undue stress while trying to focus on lecture and demonstrations. Imagine having to wear gloves to take notes! The heat in warmer weather times is not remedied by open windows... some or most classrooms don't even have windows. I. Challenge you to follow the results in terms of student productivity, grades and attentiveness after equipping the building with adequate temperature controls. You will find it well worth the investment. Teresa McPhatter, Class of 2016 I have taught MUS1050 in both Rm.141 and 143. In the winter these rooms tend to be very cold. Sometimes the students and I do not take our coats off. On occasion I have taught MUS1562 as well as heard juries in Rm.120. This room tends to be unbearably hot at almost any time of year. One is not able to open all windows as some are broken. The shades are not all functioning either. Hopefully these issues can be addressed. Thank you. Prof. Andrea Herr, Adjunct Faculty Room 143 needs some sound baffling on the walls and/or on the ceiling. Also, I taught a couple of substitute classes in a room towards the front of the building. This was somewhat next to the music office. There always seemed to be the smell of automobile fumes or diesel in that room, very strong. Prof. Joel Weiskopf, Adjunct Faculty

I have only been teaching voice in 149 this past academic year and it is always extremes of hot and cold. Never is there an even temperature in that room. Prof. Valerie Van Hoven, Adjunct Faculty - Bathroom sinks in men's room by theater frequently do not work - Paper towel dispensers are always broken - Water fountains also frequently out of order. Those that do work have horrible tasting water. Filtered water fountains, which are available in other buildings on campus, would be welcome. Healthy, good tasting water is imperative to a singer's vocal health - Inconsistent temperatures in many rooms. There are many days when it is simply too cold to play the piano or sing comfortably - Dim lighting in some of the practice rooms Anonymous Private Studio Teacher Wilkins cooling and heating is one of a few problems we experience. You never know what the climate will be until you enter the building. It is very hard to concentrate as a student who is always in this building. Also from a health stand point, I am a singer and the drastic changes in climate are not healthy for one’s voice. Along with the air conditioning problem, Wilkins has a problem with security. I have been told of multiple times where students’ personal items were stolen and never found. Fixing these problems will protect the students of Kean who use this building. Aaron Geusic, B. A. in Music Education, Class of 2020 Dr. Marchena’s Office In Spring of 2015, there was a bug infestation in Dr. Marchena's office.. There are clear cracks in the office floor, which I'm sure contributed to the infestation. Often times, the problem was so severe that the room was uninhabitable, and we would have to relocate our class. Relocating class was often times difficult, as many of the other rooms in Wilkins were occupied and reserved for classes. Looking for an unoccupied classroom was time consuming as well, and would take away precious time from my piano lesson. This issue caused great discomfort for me and made it difficult to concentrate. Sara Edreira-Fidalgo, B.M. in Music Performance with an Emphasis on Pedagogy, Class of 2016 In teaching piano this past spring in Dr. Marchena's studio, I did find it often overly chilly in that room and it took a while for the portable heater to take the chill off. Also, the room is rather small, with two grand pianos in it; adequate, but certainly not roomy. I suppose I could say that some of the teaching and practice rooms that I saw and spent some time in could use some sprucing up and perhaps more regular cleaning as well. Professor William Barto Jones, Adjunct Piano Faculty

Music Library There is no one supervising this library, so books, music scores, CDs disappear. (For many years we had a half time Prof. Services Music Librarian position, but when the staff member retired about five years ago, the position was never replaced.) This will be a big issue for NASM in 2020 as library facilities are basic for a college music education. At the very least, we should hire two additional student works at 20 hours per week to staff the Music Library. My priority would be to take care of our crippled library. We lack basic teaching materials. Also, any news about the non-teaching request for funds? Prof. Richard Hobson, Adjunct Faculty I have a concern about the "music library". That room seems to be a catch all, at least the last time I looked in there. Can this space be utilized in some efficient and/or beneficial way? Storage, studio, etc. Also.... as always, I am constantly amazed at the lack of security as pertains to the main office, adjunct office, professors’ offices, etc. It seems like the students have a free run of the place. It is not like this at ANY other institution I have ever taught at or attended. My two bits. Prof. Chuck Bumcrot, Adjunct Faculty Music Technology Lab (119) The lack of any monitoring for a room with such expensive equipment is a similar problem that could be economically handled by one or two student workers. For the budgetary needs of the Technology Lab, please see Appendix B Music Technology Lab Upgrade Proposal

Appendix B: PA119 Music Technology Lab Upgrade Proposal Music Technology Lab (119) The lack of any monitoring for a room with such expensive equipment is a similar problem that could be economically handled by one or two student workers. For the budgetary needs of the Technology Lab, please see Appendix B Music Technology Lab Upgrade Proposal and attached Excel Doc titled PA 119 Upgrade Proposal

PA119 Music Technology Lab is a multi-use space providing: 1) A general-use computer lab for the Wilkins Theatre Building (the only such lab in the

building). 2) A specialized music-technology-specific facility for training Music Majors (including future

public school teachers, i.e., B. A. in Music Education Majors) in computer applications for music including desktop publishing, digital audio workstation (DAW) and software sequencer concepts, etc.

3) A piano lab serving both music majors and non-majors taking electives in music. The total number of course sections directly and indirectly (as a resource lab) served by PA119 each semester is over 30. For Fall 2015, for non-majors alone, seven sections of MUS1050, five sections of MUS1517, six sections of MUS1000 will be running, in addition to 12 music major courses that utilize the space in various ways. The total number of students (based on AY2014-15 numbers) served via direct classroom support or general lab use is 283 per semester. CVPA Mission and Kean University SLO’s directly supported by the PA119 Lab include:

(KU1) Think critically, creatively and globally (KU2) Adapt to changing social, economic, and technological environments (S3) solve problems using quantitative reasoning; (S4) think critically about concepts in multiple disciplines; and (S5) show information literacy (V5) lifelong learning

The lab houses 13 digital pianos and one acoustic piano with 13 corresponding computer music workstations (and one associated faculty station). The last upgrade to the computer hardware in this facility was AY2005-6 with the purchase of 14 iMac computers. These machines have been maintained and upgraded annually since their installation but have now reached the end of their upgrade life cycle. That is, in particular, they can no longer run the latest versions of the various installed software due to their operating system limitations.

The last operating system the 2005-6 iMac model supports is Mac OS X 10.6 (”Snow Leopard”). Unfortunately, most software applications installed in the lab now require Mac OS X 10.7 or later. The latest version of the Mac OS X is 10.11 (“El Capitan”), therefore, the lab is at least 4 generations out-of-date in terms of operating system standards. Specific music software applications that are impacted include Finale, GarageBand and Logic Pro, all of which factor into music and some aspects of General Ed curriculum.

Kean University MUS 3865

Wind Ensemble Fall 2015

Mid-Term Assessment

of Collective Large Ensemble Performance Level

Musical Selection: 1 2 3 4

Technique 4 3 3 3 Rhythm 4 3 3 4 Pitch 4 3 3 4 Tone 3 3 3 4 Dynamics 3 2 3 3 Phrasing 4 2 3 3 Style 3 2 2 3 Balance 3 2 3 4 Blend 3 2 2 3 _________________________________________________________________________________________________ Sub Scores 69% 49% 56% 62% Cum. 76.25 _________________________________________________________________________________________________ Musical selections (repertoire) are as follow: 1. Second Symphony for Band Frank Erickson

2. Symphonic Dance No. 3 Clifton Williams

3. Valse Triste Jean Sibelius

4. Mennin Veen Haydn Wood


Wind Ensemble Fall 2015

Final Semester Assessment

of Collective Large Ensemble Performance Level


Technique 5 4 5 5 Rhythm 5 5 5 5 Pitch 4 4 4 4 Tone 4 4 4 5 Dynamics 5 5 4 5 Phrasing 5 5 5 5 Style 5 5 5 5 Balance 5 5 5 5 Blend 5 4 5 5 _________________________________________________________________________________________________ Sub Scores 96% 91% 93% 98% Cum. 94.5 _________________________________________________________________________________________________ Musical selections (repertoire) are as follow: 1. Second Symphony for Band Frank Erickson

2. Symphonic Dance No. 3 Clifton Williams

3. Valse Triste Jean Sibelius

4. Mennin Veen Haydn Wood


Wind Ensemble

Mid-Term Assessment of Collective Large Ensemble

Performance Level

March 1, 2016


Technique 3 3 5 2 Rhythm 3 3 5 3 Pitch 3 3 4 4 Tone 3 3 4 3 Dynamics 3 3 3 3 Phrasing 3 3 3 3 Style 3 2 4 2 Balance 2 3 3 3 Blend 2 2 3 3 _________________________________________________________________________________________________ Sub Scores 56% 56% 76% 58% Cum. 61.5% _________________________________________________________________________________________________ Musical selections (repertoire) are as follow: 1. Paris Sketches Martin Ellerby

2. Sea Drift Anthony Iannaconne

3. Danzon Leonard Bernstein

4. Cartoon Paul Hart


Wind Ensemble

Final Semester Assessment of Collective Large Ensemble

Performance Level


Technique 4 4 5 4 Rhythm 5 5 5 5 Pitch 5 4 4 4 Tone 4 4 4 4 Dynamics 5 4 5 5 Phrasing 5 4 5 5 Style 5 4 5 5 Balance 4 4 5 5 Blend 4 4 5 5 _________________________________________________________________________________________________ Sub Scores 91% 82% 96% 93%

Cum. 90.5 _________________________________________________________________________________________________ Musical selections (repertoire) are as follow: 1. Paris Sketches Martin Ellerby

2. Sea Drift Anthony Iannaccone

3. Danzon Leonard Bernstein

4. Cartoon Paul Hart

Date:

____________

Rubric Scoring Sheet for String and Wind Recitals

Students: Fill out the first 2 lines and bring one copy of the completed form for each luror

Student’s Name:

_________________________________

Semesters at Keen:

Instrument:

________________________

Teacher:

________________

Juror’s signature: Score total:

Criteria ‘10-9 j 1 6-5 4-3 2-1 Scare

1. Timbre & Charactensac Charectenstc Lapses :n tone: urcheracteristic Too little control, sound, Cons’sndy sound. Consistently sometimes less sound. Often not aver tone qua: ty.Tone QualIty clear, focused & clear, focused & corsstentty c:ear, clear, focused & Substontal

centerec througi- centered in mio- focused & centered. atorton to toneout range. range. Less so in centered, even in Attention to tone production

outer ranges. mid’ range. producoon needed,needed,

2. Rhythm Beet is secure and Beat is secure and Beet is somewhat Best is erretic Beat is erraticrhythms are rhythms are erratic but rhythms and rhythms are and rhythms areaccurate generally accurate are generally sometimes inaccurate. Verystylistically. perrass with accurate Del-naps inencurate. Too careful attention

stylistic or other w.th s;distc or many proolems. to rhythmminor prosiems. other minor needed.

problems.

3. Pitch/ Pitch is very Pitch is generally Pitch is generally Pitch is not Poor sense of, accurate, accurate with a few accurate but with generally pitch reflected.Intonation/ detractions, too many accurote—far too Substantial

Tunin detractions, many detractions, attention toMore careful intonation andattention to the entireintonation needed, matter of playing

in tune needea.

4. Dynamics Dynam:cs are Dynamics are Dynamics are Dynamics are Dynamics aremusical and generally musical genera!:y generaty assent absent orexpressive and and exoressive and sometmes less of ‘ess c,an unmjtics’ orretlect a good reflect a good than musical or musical and inexpressive. Asense of style. sense of style. inexpressive or do generally poor sense of

not reflect a good inexpressive, style reflected.sense of style. reflecting a poor

sense of style.

5. Phrasing Pnrasing is always Phrasing is usually Pnras:rg only Phrasing :s rarely Phros:ng is notsensitive to and sensitive to and cometmes sensitive to or sensitive to orconsistert with the ccnsistent with te sersith’e to and consistent with consistent v.qthstyle of music berg sty e of music being cons:smnt w.th the the sty.e of mus:c tr.e style ofplayed. played, style of music being being played. music being

played, played,

6. Expression Performs with Generally performs Only sometimes Rarely p&forms Performs w!th• creative expression w,th creative performs with with creative rio creative

S. Communi- aid communicates expression end creative expression expression or

cation musically, communicates expretsion. Musical and/or rarely musicalConsiderable musicay. More communication communicates ccmmur.:cation.

nuance. Crest ruance or greeter spotty. Much more mus:cally Mucn Muth morepersonal personal nuance and more nuance and nuance endcommitment, commitment is greater personal greeter personal greater personal

needed, commitment is commitment is commitment isneeded, needed, needed.

7 Accuracy Notes ore Notes are Note inaccuracies Wrong notes Many wrong.

consistendy con&r.er.ty or lack of clarity and/or notes notes and/or& Clanty of accurate and accurate ar.o begin to detra uncleartj heard general lack of

Notes clearly heard. clearly hearo WLth from the consistently note clarityoccas’onal lapses. performance. detract from the

performance.

8. Articu- Attacks and Attacks and Attacks and Attacks and ttacks and. articulation secure, articulator, articulation not articulations not articulations

lation Legati, accas, generally secure quite secure, secure, Legati, absent Legati,slurs. accents, etc. but wth some Legao. staccati, staccad. sirs. staccati, slurs,performed lapses. Legati, slurs, eccerts. etc. accents, etc. only accents, etcaccording to the staccsti. slurs. only sometimes sometimes genera:y ignoredmusic and always accent, etc. performed performed or are inconsistent w’tn the usually performed according to the according to the consistent withstyle. according to the music and only music and only the style.

music and usually sometimes sometimesconsistent with the consistent with the consistent withstyle. style. the style.

9. Nuance Very musical, Generally musicel, Somewhat musical Not particularly unmusical andnuanced nuonced and generally musical or unnuanced

S. Style performarce. All performance. nuanced gererally nuanced performance,

Markins style marx:ngs Moststyle performance. performance. Too S;de maringsobserveo. markings observed. Most style many style gererally

markings observed, markings ignomo.ur.obsensec.

10. Memori- Something Something Something Something Nothing. memorized. memorized but memorized but memorized but memorized.

zabon Performance at performed w:th performed with too performed wth (Note: If—inleast 95% some memcry many memo’y far too many special circumaccuracy. slips. or perhaps slips. or oerhaps memory slips or stances—the

only 90-94% less than 90% inaccuracies, memoryaccurate, accurate, requirement is

waved, thiscategory shouldbe scored 10.

Comments:

CHOIR GRADES FALL 2015

Choir Member FINAL

GRADE

#

Unexcus

ed

Excused

Absence

s Lates

Choir

Test

ELIZABETH

CONCERT

ENLOW

DRESS

REHEARSAL

ENLOW

CONCERT

HOLIDAY

CONCERT

CHOIR

JOB

PARTICIPA

TION

Adams, Samantha A 0 0 0 A 100% 100% 100% 100% 100%

Ahn, Hyunjun A 3 0 0 A- 100% 100% 100% 100% 100% 100%

Brodowski, Lauren A 1 0 0 A 100% 100% 100% 100% 100%

Brown, Reilly C+ 6 0 0 B+ 100% 100% 100% 100% 100%

Buonvicino, Nick A 2 0 0 A 100% 100% 100% 100% 100% 100%

Calado, Leticia A 0 0 0 A 100% 100% 100% 100% 100%

Carroll, Meghan A 1 0 0 B+ 100% 100% 100% 100% 100% 100%

Ciranni-Flakker, Leah A 1 0 0 A 100% 100% 100% 100% 100% 100%

Crawford, Dannyele A 1 0 0 A 100% 100% 100% 100% 100% 100%

Cunningham, Danielle A - 0 0 0 B 100% 100% 100% 100% 100%

Deverman, Tyler A - 0 0 0 B 100% 100% 100% 100% 100%

Diaz, Emmanuel A 0 0 0 A 100% 100% 100% 100% 100% 100%

Dowling, Colin A - 0 0 0 B+ 100% 100% 100% 100% 100%

Edreira-Fidalgo, Sara B 5 3 0 A 100% 100% 100% 100% 100%

Fiekowsky, Ari A- 3 0 0 A 100% 100% 100% 100% 100% 100%

Foster, Rebecca A 0 0 0 A 100% 100% 100% 100% 100%

Guarnaccia, Dominick A 2 0 0 A+ 100% 100% 100% 100% 100%

Hanna, Ryan A 2 0 0 A 100% 100% 100% 100% 100% 100%

James, Isaiah A - 0 0 0 B 100% 100% 100% 100% 100%

Lambert, GaDa A 1 0 0 A 100% 100% 100% 100% 100% 100%

Lim, Yesol A - 0 0 0 B+ 100% 100% 100% 100% 100% 100%

Masucci, Christina A 0 0 0 A 100% 100% 100% 100% 100%

McPhatter, Teresa A 2 0 0 B+ 100% 0% 0% 100% 100%

Montealegre, Daniel A - 0 0 0 B- 100% 100% 100% 100% 100% 100%

Noel, Anne Marie A - 0 0 0 B 100% 100% 100% 100% 100% 100%

Odin, Jenna A 2 0 0 A 100% 100% 100% 100% 100% 100%

Ojeda, Chantal B + 5 0 0 A 100% 100% 100% 100% 100%

Olearchik, Nicole A - 1 0 0 B+ 100% 100% 100% 100% 100% 100%

Pepitone, Sadie A - 1 0 0 B+ 100% 100% 100% 100% 100% 100%

Rizzo, Alexis A 2 0 0 A 100% 100% 100% 100% 100% 100%

Seibert, Justin A 1 0 0 A 100% 100% 100% 100% 100% 100%

Simms, Amanda A 0 0 0 A 100% 100% 100% 100% 100% 100%

Smith, Kevin A 2 0 0 A- 100% 100% 100% 100% 100%

Sosa, Tiffany A - 2 0 0 B 0% 100% 100% 100% 100%

Switzer, Steven A - 2 0 0 C+ 100% 100% 100% 100% 100% 100%

Tartza, Mathew A - 3 0 2 A 100% 100% 100% 100% 100% 100%

Zhu, Xingyi A - 0 0 0 B 100% 100% 100% 100% 100%

Choir Test #1 Grades September 25th, 2015

Reilly Brown

Introit B + Rhythm on page 4

Rex Tremendae A

Confutatis C + Rhythm on page 38

Kyrie A Open mouth more, as there is some technical tension this produces. Please confer with your voice teacher about this.

Final Grade/Comments B + Good job on your first test! Glad you joined us this semester! =)

Ari Fiekowsky

Introit A

Rex Tremendae A

Confutatis A

Kyrie A

Final Grade/Comments A Fantastic job!! Glad to have you with us!! =)


Leticia Calado

Introit A

Rex Tremendae A

Confutatis A

Kyrie A Timid, but good

Final Grade/Comments A Great job on your first test!! Wow!!! Glad to have you with us this semester! =)

Chantal Ojeda

Introit A

Rex Tremendae A

Confutatis A

Kyrie A

Final Grade/Comments A Great job on your first test!! Glad to have you with us this semester! =) Brava!!


Jenna Odin

Introit A

Rex Tremendae A

Confutatis A

Kyrie A

Final Grade/Comments A Fantastic job!! Good to have you back!! =) Awesome!!!!!

Tiffany Sosa

Introit More definition. Need notes to be correct

Rex Tremendae Lost

Confutatis Lost

Kyrie Lost

Final Grade/Comments D Tiffany, you have to be more on top of the music, esp. when you don’t have the other sopranos there, so you can lead with your beautiful voice and positive personality! Need to retest.


Gada Lambert

Introit A

Rex Tremendae A

Confutatis A

Kyrie A

Final Grade/Comments A Fantastic job!! Glad you’re with us this semester! =) You add so much to the group!! Wow. Just be sure to keep a positive spirit even when things aren’t going exactly as you feel they should—you can lead powerfully by sunny side up example and great singing.

Christina Masucci

Introit A

Rex Tremendae A

Confutatis B Missed pg. 38 “voca”

Kyrie A -

Final Grade/Comments A - Great job!! I’m delighted to have you back with us again!! =)


Lauren Brodowski

Introit A

Rex Tremendae A

Confutatis A Sharp on “voca”

Kyrie A- Sing with more vibrato. Missed last measure of page 6

Final Grade/Comments A Great job!! So glad to have you with us!! Keep your energy positive and interactive, you’re a sensitive soul. Brava! =)

Sadie Pepitone

Introit A

Rex Tremendae Rhythm off bottom pg. 28

Confutatis B + Rhythm pg. 38 Second line “voca me.”

Kyrie B

Final Grade/Comments B + Rhythm needs work, but good job nonetheless. Your voice and positive personality add so much to the group!!


Teresa McPhatter

Introit A

Rex Tremendae Rhythm on pg. 26

Confutatis Rhythm on pg. 38 “voca me”

Kyrie A

Final Grade/Comments B+ Rhythm needs work, but good job nonetheless. You have added so much to the groups last year and this one! Brava. Great to have you back! Looking forward to hearing you sing solo as well.

Rebecca Foster

Introit A 1st measure rhythm 1st beat

Rex Tremendae A

Confutatis A

Kyrie A

Final Grade/Comments A Fantastic job! Glad to have you with us!! =) Keep positive as section leader—sunny side up smiling and motivating those around you! You didn’t try out for a solo (insert violin music)


Lim Yesol

Introit A

Rex Tremendae B + Bottom Pg. 25 - first “rex” Pg. 26 bottom score

Confutatis B + Bottom pg. 38 second line “voca me”

Kyrie A

Final Grade/Comments B+ Rhythm needs improvement. Good job on your first test! Glad to have you with us this semester!! =) You can sing out more, Yesol! You have to know the music so well for these tests.

Leah Ciranni-Flakker

Introit A

Rex Tremendae A

Confutatis A

Kyrie A - Review Pg. 7

Final Grade/Comments A Fantastic job! Glad to have you with us!! =) Wow, what a great job you did on this test


Alexis Rizzo

Introit A

Rex Tremendae A

Confutatis A

Kyrie A

Final Grade/Comments A Fantastic job! Glad to have you with us!! =) Keep that humor and positive energy going!!! You knocked this difficult test out of the water!

Claudia Escalante

Introit A

Rex Tremendae A

Confutatis A

Kyrie B Review pg. 7

Final Grade/Comments A - Fantastic Job!! I’m happy as a clam (or a Maine lobster) to have you with us!! =)


Anne Marie Noel

Introit A

Rex Tremendae A - Missed pg. 26 second line

Confutatis B Rhythm pg. 38 2nd line

Kyrie B Review pg. 7

Final Grade/Comments B Not bad, Anne Marie!!! Keep working on the Rhythm of the entrances. You add a lot to the ensembles!

Dannyele Crawford

Introit A

Rex Tremendae A

Confutatis A

Kyrie A

Final Grade/Comments A Led the troops!! Great job! Wow!! You knocked this one out of the water!!!!!


Xingyi Lydia Zhu

Introit B + Top pg. 5 rhythm

Rex Tremendae B

Confutatis Pg. 38 second “voca”

Kyrie Some notes were flat

Final Grade/Comments B+ Lydia, you have gotten much better as a choir singer! Make sure you have a good breath, because sometimes the pitch is a bit flat. I’m so glad you are with our ensemble!! Good job on this difficult music!

Nicole Olearchik

Introit A

Rex Tremendae A

Confutatis Late on 2nd “Voca,” 2nd line pg. 38

Kyrie B Bottom of page 6

Final Grade/Comment B+ Good job!! You add so much to the group!!! Omg Wow. I’m happier than a Maine lobster that you’re with us


Meghan Carroll

Introit C Lost on bottom of 4 to top of 5

Rex Tremendae A

Confutatis A

Kyrie B Bottom of page 6-7

Final Grade/Comments B+

Amanda Simms

Introit A

Rex Tremendae A

Confutatis A

Kyrie A

Final Grade/Comments A Fantastic job!! Great to have you with us!! =) Wow, Amanda, you are sounding better every day! How far you’ve come from your freshman year!


Samantha Adams

Introit A

Rex Tremendae A

Confutatis A

Kyrie A

Final Grade/Comments A Great job on your first test!! Glad to have you with us this semester! =) You’ve added a lot to the ensembles, Samantha, and our program in general. I hope you reach out and make some friends because you’re a really nice person.

Tyler Deverman

Introit C - Notes? Bottom of page 4 to top of page 5.

Rex Tremendae C - Notes? Half step and whole step relationships Top of 27 was the best.

Confutatis A Best thing so far

Kyrie D Arpeggio measure 8 Measure 18 wrong entrance note.

Final Grade/Comments D Need to retest. Schedule retest within the week so this grade does not become permanent. Tyler, I’m worried about your overall program. I wonder if it would be best to forego the choir and really work on sight singing—or stick with this and take SSET I in the spring instead of SSET III. Please talk to me.


Kevin Smith

Introit A

Rex Tremendae B + Notes pretty good, mostly rhythmic issues C natural bottom page 26

Confutatis A - Bottom pg. 36

Kyrie B Review page 7

Final Grade/Comments A - Quite good, Kevin!! You came alive in the test. Be sure to look up from your music in choir. So Glad to have you with us!!

Edward Griffin

Introit A - Missed initial entrance rhythm, but then good.

Rex Tremendae B + Mostly rhythmic issues in entrances.

Confutatis A - Botom of pg. 36 C Natural

Kyrie B Review page 7

Final Grade/Comments B + Eddie, you’ve got to review!!! Mostly rhythmic issues, but not too bad. Beautiful voice!!!


Steven Switzer

Introit C Not sure of notes

Rex Tremendae C pg. 25-26 notes good Entrance at letter V

Confutatis B Could be Better

Kyrie C + Measure 25-26 better

Final Grade/Comments C + Steve, you have added so much to the groups ! But this music is very tough rhythmically, esp. when you must sing by yourself against the other parts. Retest

Domenick Guarnaccia

Introit A Very solid!

Rex Tremendae A Excellent job staying on your part.

Confutatis A -

Kyrie A - Measure 24-26

Final Grade/Comments A+ Excellent job on your first test!! Glad to have you with us!! April was very impressed too!


Hyunjun Ahn

Introit B Doesn’t know top of pg. 5

Rex Tremendae Bottom of pg. 25 Letter V - entrance notes

Confutatis A -

Kyrie Entrance on 1st page?

Final Grade/Comments A - Great job!! Glad to have you with us!! Keep working on your music! Bravo

Justin Seibert

Introit A

Rex Tremendae A Know the bottom of 25, even if someone else is off.

Confutatis A

Kyrie A

Final Grade/Comments A Fantastic job!! Glad to have you back!! You add so much to the group in terms of voice and positive personality.


Matt Tartza

Introit A

Rex Tremendae A Letter V?

Confutatis A

Kyrie A

Final Grade/Comments A Fantastic job!! (Hiccup noise) (inserted by the Buon) You have come so far and are now taking a positive leadership role as section leader. Don’t be a stranger to other members or me, just keep saying “hi” every time you can. Bravo, Matt.

Dan Montealegre

Introit B Started weak, but was fine after tenor entered.

Rex Tremendae B - pg. 26 - needed help

Confutatis C + Missed 2nd and 3rd entrance

Kyrie B +

Final Grade/Comments B - Check all of your entrances. Good job on your first test!! Dan, April made the comment that once you started your entrances you were fine, but often you were hesitant to come in. It’s all about counting and rhythm, right? You have a wonderful voice and a kind, simpatico personality. I’m delighted you are with us, Dan!!


Tom Murray

Introit B +

Rex Tremendae A Work on Rhythm

Confutatis A -

Kyrie A

Final Grade/Comments A - Fantastic job!! Glad to have you with us this semester! Tom, you just keep getting better and better! What a gift to have you back! (even when you’re not wearing a pink tie)

Isaiah James

Introit B - Lost going into top of 5

Rex Tremendae A

Confutatis B + 2nd and 3rd line starting pitches Letter B - better

Kyrie A

Final Grade/Comments B Good job for your first test! Glad to have you with us this semester! I hope your enjoying it!


Nick Ingeri

Introit A

Rex Tremendae B + A few wrong?

Confutatis B+ Work on Intervals

Kyrie B Work on Entrances

Final Grade/Comments A - Great job!! Glad to have you back this semester!! Nick, you’ve come so far as a singer and musician, bravo!!!

Manny Diaz

Introit A

Rex Tremendae A

Confutatis B + Top of 38 (ending of the men’s phrase)

Kyrie B Bottom of page 6 - missed entrance

Final Grade/Comments A - Good job, Manfred!! Keep working at it Your voice has come SO far, and you’re doing a great job as section leader.


Nick Buonvicino

Introit A

Rex Tremendae A

Confutatis A

Kyrie A

Final Grade/Comments A THE INDESTRUCTIBLE!! (Yes you are! Bravo, Nick) You are not only indispensable but inde..........

Ryan Hanna

Introit A

Rex Tremendae A

Confutatis A

Kyrie A

Final Grade/Comments A Ryan, fantastic solid job, you sounded wonderful!!!!!! Bravo. You’


Colin Dowling

Introit

Rex Tremendae Confutatis Kyrie Final Grade/Comments F Did not take the test Schedule test within the week so this grade does not become permanent

Danielle Cunningham

Introit Rex Tremendae Confutatis Kyrie Final Grade/Comments F Did not take the test Schedule test within the week so this grade does not become permanent


Sarah Ferreira

Introit


Sara Edreira-Fidalgo

Introit Rex Tremendae Confutatis Kyrie Final Grade/Comments F Did not take the test Schedule test within the week so this grade does not become permanent


Alex Desrivieres

Introit


Choir MemberFinal

Grade

# Unexcused

Absences # Lates

Choir Test

Grade

NJMEA

2/19/16

TOUR 3/31/16 -

4/3/16

ENLOW CONCERT

4/17/16

CHOIR

JOB

PARTICI

PATION

Adams, Samantha A 0 0 A 100% 100% 100% 100% 100%

Allgauer, Lisa A 1 0 A - 100% 100% 100% 100% 100%

Bailey, Emily A - 0 0 B - 100% 100% 100% 100% 100%

Brodowski, Lauren A 1 0 A - 100% 100% 100% 100% 100%

Calado, Leticia A 0 0 A - 100% 100% 100% 100% 100%

Carroll, Meghan A 0 0 A 100% 100% 100% 100% 100%

Ciranni-Flakker, Leah A 1 0 A - 100% 100% 100% 100% 100%

Crawford, Dannyele A 0 0 A 100% 100% 100% 100% 100%

Cunningham, Danielle A - 1 0 B - 100% 100% 100% 100% 100%

Deverman, Tyler A - 1 0 B + 100% 100% 100% 100% 100%

Diaz, Emmanuel A 0 2 A 100% 100% 100% 100% 100%

Dowling, Colin B + 0 0 D 100% 100% 100% 100% 100%

Escalante, Claudia A 1 0 A 100% 100% 100% 100% 100%

Foster, Rebecca A 0 0 A 100% 100% 100% 100% 100%

Geusic, Aaron A 0 0 A 100% 100% 100% 100% 100%

Griffin, Edward A 1 0 A 100% 100% 100% 100% 100%

Guarnaccia, Dominick A 0 0 A 100% 100% 100% 100% 100%

James, Isaiah A 0 0 A - 100% 100% 100% 100% 100%

Lambert, GaDa A 2 0 A 100% 100% 100% 100% 100%

Lim, Yesol A 1 0 A 100% 100% 100% 100% 100%

Masucci, Christina A 0 0 A - 100% 100% 100% 100% 100%

McPhatter, Teresa A 2 0 A - 100% 100% 100% 100% 100%

Montealegre, Daniel B + 0 0 C 100% 100% 100% 100% 100%

Moysam, Lien B + 0 0 C + 100% 100% 100% 100% 100%

Murray, Thomas A 2 0 A 100% 100% 100% 100% 100%

Noel, Anne Marie A - 0 0 B + 100% 100% 100% 100% 100%

Ojeda, Chantal A - 1 0 B + 100% 100% 100% 100% 100%

Olearchik, Nicole A 0 0 A - 100% 100% 100% 100% 100%

Pepitone, Sadie A 2 1 A - 100% 100% 100% 100% 100%

CHOIR GRADES SPRING 2016

Rizzo, Alexis A 0 0 A 100% 100% 100% 100% 100%

Rocha, Gilmaria A 2 0 A - 100% 100% 100% 100% 100%

Santiago, Cassandra A - 1 0 B - 100% 100% 100% 100% 100%

Seibert, Justin A 1 2 A 100% 100% 100% 100% 100%

Simms, Amanda A 0 2 A 100% 100% 100% 100% 100%

Switzer, Steven A 0 0 A 100% 100% 100% 100% 100%

William-Lewis, Joseph A 2 3 A - 100% 100% 100% 100% 100%

Choir Test #1 Grades February 5, 2016

Meghan Carroll

How Excellent Great pitch! Watch ‘eh’ vowel on excellent, it got a little closed. Gl-oh-rius Oh + uh on glorius Nice blend =) A

Lux Aurumque Nice job! Very clear tone! Nice job blending with Claudia. Watch scooping, down from pu-ra Great job! A

Elijah Rock Watch to not overpower other voices on pg. 6 Nice crescendo! Well done! A

Final Grade/Comments A Your voice got much stronger!! Fabulous job!

Dannyele Crawford

How Excellent Nice diction and vowels A

Lux Aurumque Watch out for vibrato, especially on pg. 5 You had it on the ‘D’ note in “Lux” Watch pitch on pg. 5-6. It’s hard to keep the same note against the others. Great job!

A-

Elijah Rock Nice job! Well sung! =) Nice crescendo A

Final Grade/Comments A Wonderful job!


Leah Ciranni-Flakker

How Excellent Watch out for ‘eh’ vowel in “excellent.” Needs to be a little more open. Rhythm on “In all the world..” just check it. Nice tone! A

Lux Aurumque Too soft on entrance. Make sure every note is straight-toned. Good pitch accuracy. B

Elijah Rock Come out a little more in the beginning, on “oh.” Definitely sing out in lower range more! Nice sound! A

Final Grade/Comments A - Great job!!

Sadie Pepitone

How Excellent Make sure to look up. Nicely sung! A

Lux Aurumque Watch tone clarity. You can come out a little more. Don’t breathe between “pura.” it’s one word. Nice pitch accuracy Watch rhythm. A -

Elijah Rock Much better with looking out! Make sure you don’t overpower the parts. Don’t roll R’s on “rock.” A

Final Grade/Comments A- Wonderful job!!


Claudia Escalante

How Excellent Starting note shaky, but recovered. Clear diction Looked up a fair amount. A -

Lux Aurumque Strong on your note! Brava! Good balance Don’t jump too early at measure 22, but got on the beat. A

Elijah Rock Can bring out those lower notes at Coda. Nice blend A

Final Grade/Comments A Very nice job!! Claudia, be careful of over singing, because pressing on the vocal cords can produce some flatness. You are a wonderful singer/ personality and add so much to the group!

Lauren Brodowski

How Excellent Clear diction Early start, but fixed yourself. A-

Lux Aurumque Confident sound on held note. Measures 6 & 12: the note could come out more. Rhythm great from 24-28 A -

Elijah Rock Can come out at Coda, but notes are there. A -

Final Grade/Comments A - Fabulous job!!


Lien Moysam

How Excellent Clear on notes, more volume first time. 3rd entrance didn’t know note and 4th entrance. B -

Lux Aurumque Good blend on held note Didn’t get notes on measures 10 & 12 21-24 didn’t have notes Got part by 25 C+ Retest B improved

Elijah Rock Cannot hear part, and singing wrong when heard. C -

Final Grade/Comments C + Lien, some good things here! Please retest on Lux and Elijah Stayed the same because she could not get Elijah any better, going from part to part

Cassandra Santiago

How Excellent Bring it out. You have the notes notes. Just more volume and power. B +

Lux Aurumque Still cannot hear. Not sure if it’s not knowing, or volume. B -

Elijah Rock Cannot hear at Coda Not sure of notes till 3 measures before D. B -

Final Grade/Comments B - Glad to have you with us this semester!!


Chantal Ojeda

How Excellent More sound, but you have it! Much better on the 2nd and 3rd entry. One note was wrong, but it didn’t effect. B+

Lux Aurumque Yas! Strong second! Nice blend! 22-24: rhythm was messy, but got it at 25. A

Elijah Rock Got first note without piano! Not really sure of the notes till middle of coda. B +

Final Grade/Comments B + Good job!! Glad to have you with us this semester!!

Nicole Olearchik

How Excellent Strong entrances Good pronunciation A

Lux Aurumque Need more straight tone Study notes more (et canunt) Be aware of tempo A -

Elijah Rock Great low tones on “If I could…” A

Final Grade/Comments A - Fabulous job!!

Choir Test #1 Grades February 5, 2016 Christina Masucci

How Excellent More volume Couldn’t hear you at all C Retest on Feb. 12 entrance notes still need to be stronger Retest Feb. 16 strong! A-

Lux Aurumque More volume! Be more confident Pay attention to entrance notes on “pura” Retest on Feb. 12 fantastic!

Elijah Rock “If I could…” Strong on lower notes Might need to consider singing Alto 1 Too low. Retest on Feb. 12 First part good, and p. 6 slow section is good. The quick three part E’s and As still need to be stronger Retest Feb. 16 strong! A-

Final Grade/Comments C + Please see me about your Retest on Feb. 12 some work still needs to be done Retest Total A-

Danielle Cunningham

How Excellent Study the notes more Be more confident More volume B

Lux Aurumque No sound More volume More confidence in notes C

Elijah Rock Strong entrance on “If I could…” More volume Be more prepared for each note No scooping B +

Final Grade/Comments B -

Choir Test #1 Grades February 5, 2016 Anne Marie Noel

How Excellent “In all the world is known…” Be more sure of notes Stronger entrances B

Lux Aurumque Too slow Look up “gravisque” Need to be more consistent in singing the notes More confident Off rhythm many times Focus!! Very flat C – Retest Feb. 16 strong! A-

Elijah Rock Need to be better with timing. Needs to study part more. Alto 2 (may need to change) Singing soprano on “If I could…” D – Retest Feb. 16 much better, still some flatting 2nd line of p. 6 A-

Final Grade/Comments C Suggest re-test Retest B+

Gilmaria Rocha

How Excellent Good start! Some struggling at “In all the world…” and following “How excellent” A -

Lux Aurumque Good beginning Issues at bottom of pg. 4 Struggled after until “et canunt” B

Elijah Rock Good beginning Great job on “come on sister…” Struggled at the first note, but the rest was great. Could hear her! A

Final Grade/Comments A - Great job!! Glad to have you with us this semester!!

Choir Test #1 Grades February 5, 2016 Lisa Allgauer

How Excellent Some wrong notes on “In all the world is known” Overall couldn’t hear her throughout the piece. Some notes great, others struggled. Much better with just Rebecca singing with her B

Lux Aurumque Hard to hear for “Lux,” sang with alto 2 Struggled at top of pg. 4, but got bottom of 4, which most did not. Got to the “E” Good “Et canunt” B

Elijah Rock Page 6: struggled and was singing with soprano Seemed to have gotten it by the end. B

Final Grade/Comments B Retest on February 10 Grade of A-

Samantha Adams

How Excellent Sing out more in the beginning Better in second part. A

Lux Aurumque Good beginning! Some trouble going up to “E” on bottom of pg. 4 A -

Elijah Rock Great! Just sing out more! A

Final Grade/Comments A

Choir Test #1 Grades February 5, 2016 Teresa McPhatter

How Excellent Shaky start. Could sing out more, could not hear at some parts. A

Lux Aurumque Hard to hear for “Lux,” but great at “calida.” Trouble at bottom pg. 4 Had trouble at bottom of pg. 5, was not singing. Then couldn’t hear her when she started again. B

Elijah Rock Perfect start to Elijach Rock Perfect at pg. 6 A +

Final Grade/Comments A - Great job! Glad to have you with us!!

Leticia Calado

How Excellent Sing out more. Couldn’t really hear on “How excellent.” Much better at “In all the world…” A -

Lux Aurumque Seemed to struggle with “pura,” but got it by “velut aurum.” Stayed consistent till the end. B

Elijah Rock Good beginning. Great singing out on “come on sisters…” “If I could…” section: couldn’t hear her the whole time. Could sing out more. A -

Final Grade/Comments A - Great job!! Glad to have you with us this semester!!

Choir Test #1 Grades February 5, 2016 Emily Bailey

How Excellent Seemed to be singing tenor. C

Lux Aurumque Couldn’t hear in beginning for “Lux” Seemed to struggle with “calida” Wrong at bottom of pg. 4. B

Elijah Rock Came in good for Elijach Rock! Right note for “If” Lost end of pg. 6 by second “If I could.” Good on “rock.” A -

Final Grade/Comments B -

Ryan Jaccoi

How Excellent Great job on those high notes! Come out a little more, you can hit every note beautifully. Knows the part very well. A -

Lux Aurumque Kept focus on the initial note. Work on the first two “calidas.” Otherwise, very nice! Wonderful dynamics at the end! A -

Elijah Rock

Final Grade/Comments A - Great job!! You know the music quite well.

Choir Test #1 Grades February 5, 2016 Steven Switzer

How Excellent Nice volume, just support a little more. Be more confident, you know the music! A

Lux Aurumque Nice job of preserving that initial note. Great volume! Knows the part well. Way to not be distracted towards the other parts! Come out a bit more towards the end. A -

Elijah Rock Nice job! A

Final Grade/Comments A Great job!! Glad to have you with us this semester!

Colin Dowling

How Excellent Looked unsure of notes in the beginning. Was not singing at some point. Came in early on “Above all heavens.” Sing out more. D

Lux Aurumque Singing Bass 1 part in the intro. Sing out more Sang Tenor 1 part on “angeli.” C

Elijah Rock

Final Grade/Comments D Suggest re-test. Retest on February 17 had the same result

Choir Test #1 Grades February 5, 2016 Daniel Montealegre

How Excellent Looks unsure of notes in the beginning. Needs to sing out more. Needs to look over the part C

Lux Aurumque Good entry on “Lux” beginning. Unsure of notes on “gravisque” Missed entrance on 2nd “pura” B-

Elijah Rock Sang Tenor 1 on “Oh” A -

Final Grade/Comments C

Evan Dieffenbach

How Excellent A little forced on “excellent,” but got the notes. Needs to use larger vowels A -

Lux Aurumque Geat job! A

Elijah Rock Good entry on the Tenor 2 line “Oh” A

Final Grade/Comments A Fantastic job!! Glad to have you with us this semester!!

Choir Test #1 Grades February 5, 2016 Tyler Deverman

How Excellent Sing out more. You have the notes! A -

Lux Aurumque Unsure of notes on “Calida,” and “canunt.” B -

Elijah Rock Great job on beginning! A

Final Grade/Comments B + Sing out! You have the notes!

Tom Murray

How Excellent Superb job! A

Lux Aurumque Sang Bass 1 on “calida,” and Tenor 1 for “angeli,” otherwise great job! A -

Elijah Rock Awesome job! A

Final Grade/Comments A Fantastic job!! Glad to have you with us!!

Choir Test #1 Grades February 5, 2016 Isaiah James

How Excellent Great job! Just need wider vowels. A -

Lux Aurumque In beginning, need to be more open on “Lux” Middle of piece - more volume Great work A -

Elijah Rock Super!! A

Final Grade/Comments A - Great job!! Glad to have you with us this semester!

Domenick Guarniccia

How Excellent Amazing on opening Great power in your voice. Just carry that through the rest of the piece. A

Lux Aurumque Very well done. Nice voice quality through the song. A

Elijah Rock Amazing! A

Final Grade/Comments A Great job!! Keep it going! Glad to have you with us this semester!

Choir Test #1 Grades February 5, 2016 Aaron Geusic

How Excellent Just watch out for some pitches. Great job! A -

Lux Aurumque Just calm down, you did fine. Watch out for the bottom of page 5 A -

Elijah Rock A little pitchy, but great job regardless!! A

Final Grade/Comments A Flawless job!! Glad to have you with us!!

Eric Foy

How Excellent A little trouble in the beginning, but through the piece was great. A -

Lux Aurumque Trouble from page 4 onward, but great job, Just work on it a little more. B +

Elijah Rock Watch out to not sing others parts. Try not to be thrown off by other voices. B +

Final Grade/Comments B +

Choir Test #1 Grades February 5, 2016 Joe Lewis

How Excellent Little shaky on last measure of pg. 15 second system and last page, last system. A -

Lux Aurumque Little flat Sounds tri-toney Late on measure 13 A -

Elijah Rock Nice job! A

Final Grade/Comments A - Wonderful job! Glad to have you with us!

Justin Seibert

How Excellent Good. Just watch vowel consistency. A

Lux Aurumque Too much vibrato, but got the correct notes. A

Elijah Rock Good job!! A

Final Grade/Comments A (in a raspy voice) Beautiful!! Yeah!!

Choir Test #1 Grades February 5, 2016 Amanda Simms

How Excellent A

Lux Aurumque A

Elijah Rock A

Final Grade/Comments A How Excellent, Amanda!

Rebecca Foster

How Excellent A

Lux Aurumque A

Elijah Rock A

Final Grade/Comments A Gorgeous singing!!!

Choir Test #1 Grades February 5, 2016 Alexis Rizzo

How Excellent A

Lux Aurumque A

Elijah Rock A

Final Grade/Comments A Beautiful singing!!!

GaDa Lambert

How Excellent A

Lux Aurumque A

Elijah Rock A


Choir Test #1 Grades February 5, 2016 Manny DIaz

How Excellent A

Lux Aurumque A

Elijah Rock A

Final Grade/Comments A Gorgeous singing!

Nick Buonvicino

How Excellent A

Lux Aurumque A

Elijah Rock A

Final Grade/Comments A Beautiful!!! Yeah!!!!

Choir Test #1 Grades February 5, 2016 Ed Griffin

How Excellent A

Lux Aurumque A

Elijah Rock A


Ryan Hanna

How Excellent A

Lux Aurumque A

Elijah Rock A



Yesol Lim Tested on Feb. 10 because she was sick for the test on Feb. 5

How Excellent A

Lux Aurumque A

Elijah Rock A


Criteria for Sight Singing Grading Percentages in each area will be increased if they are exceptionally problematic

% of Grade Criteria A B C D F

5% set up key/

pitches

Quickly identify key

and range, play that note

and sing a helpful warm

up with true pitches (5-

10 seconds)

Identify key and range,

play that note and sing a

helpful warm up with true

pitches (10-15 seconds)

Tentative in identifying

key and range (15 sec+)

Or, sings a warm up where

the whole and half steps

are not true

Very Tentative in

identifying key and range

(30 sec+)

Or, sings a warm up where

the whole and half steps

are inaccurate

Takes a very long time

(more than 45 sec) and

needs a lot of

help/suggestions from

instructor to sing an

effective warm up, needs

repeated attempts to

identify key and range

5% set up the

rhythm

Quickly identify meter,

beat, div, subdiv. notes,

establish reasonable

tempo and introduction

that has the necessary

beat/div/sub. (5-10

seconds)

Identify meter, beat, div,

subdiv. notes, establish

reasonable tempo and

introduction that has the

necessary beat/div/sub.

(10-15 seconds)

Incorrectly identifies

rhythmic relationships and

or introductory beats, but

after stumbling eventually

succeeds in doing so

Great difficulty in

identifying rhythmic

relationships and or

introductory beats, but

after stumbling eventually

succeeds in doing so

Incorrect relationship of

beat, div, subdiv. notes,

Takes a very long time

(more than 30 sec) to do

so, needs correction from

instructor, failure to

establish reasonable tempo

and intro such as a partial

measure for anacrusis

20% Maintain

key/scale/

whole steps

and half

steps

Maintain the key and

correct ws/hs in the key

Maintain the key for the

most part but compromises

some ws/hs of the scale (ti

do, mi fa)

Difficulty in maintaining

the key, compromises

some ws/hs of the scale (ti

do, mi fa), but maintains

some kind of tonal center

Student changes key by

singing incorrect intervals

then not getting back on

key for part of the melody

Same as D, ends up in a

key that is more than ½

step away from starting

key, also shows little

difference between hs/ws

30% Sing

accurate

pitches

Sing the correct pitches Sing most pitches

correctly with a few

mistakes

Sing 70% of the pitches

correctly

Sing 50% of the pitches

correctly

Problems with most

important melodic aspects

such as I/IV/V7 chords,

incorrect intervals.

difficulty with lot of notes

30% Accurate

rhythm/

tempo

Sing the correct rhythms

and keep a steady tempo

Sing the correct rhythms

with one or two hesitations

Considerable hesitating,

mistakes with relationships

of beats, div. and subd.

Weak sense of the beat,

incorrect relationships of

beats, divisions and subd.

No sense of beat, sung as a

pattern of pitches

10% Ability to

recover/

continue

If a mistake is made

ability to go on “without

missing a beat”

If a mistake is made, goes

on with a brief stumble or

hesitation

Stops but is able to

reestablish key, rhythmic

relationships and start

again

Stops but has considerable

difficulty in reestablishing

key, rhythmic

relationships

Comes to a stop and

cannot start again, needs

help of the instructor to

reestablish beat, key, etc.

Sound Pressure Measurements Report3/2212016

Recorded at Woodwind RehearsalConservatory of MusicCollege of Visual and Performing Arts

Arrived 7:40PM Rehearsal was underway

First song:Measurements taken each minute from: 7:44 through 7:50PMdBA Range: 76— 88dBAAverage dB Values: 80— 82dBA

Second song:MeasurementsdBA Range:Average dB Values:

Third song:Measurements taken each minute from: 8:03 through 8:36PMdBARange: 86-1O4dBAAverage dBA Values: 92— 96dBA*Often sustained levels of 98 and 99 with peaks to IO2dBA

Fourth song:Measurements taken each minute from: 8:38 through 9:00PMdBA Range: 76— 1O6dBAAverage cIBA Values: 76— 92dBA*Often sustained levels of 98 and 100 with recurring

Completed readings at 9:05PM

KEANUNIVERSITY

taken each minute from:82— IO4dBA88—92dBA

7:54 through 8:00PM

peaks to 1O6dBA

Kean University 1000 Morris Avenue, Union, New Jersey 07083-0411 908-737-KEAN(5326) • www.kcan.edu

SPL Measurements 3/22/20 16 Page 2

It is well documented that sound levels greater than 8SdBA are hazardous*. Further, impact ofnoise exposure increases exponentially as intensity levels grow. Thus, although safe to spendeight hours per day in an X5dBA sound environment, as loudness levels increase by 3dBA, theamount of time for safe exposure is reduced by half; eg: permissible time exposure is as follows:88dBA4 hours, 91dBA—2 hours, 94dBA—l hour, 97dBA—30 minutes, IOOdBA—15 minutes,1O3dBA—7.5minutes, 106dBA3.75minutes#. Effects of noise exposure are also cumulative.

It is evident, from the sound pressure level (SPL) readings during woodwind rehearsal,3/22/2016. that students and faculty are experiencing both intensities and exposure times thatplace them at risk for noise induced hearing loss.

Steps should be taken to reduce the rehearsal room noise levels and protect individuals’ hearing.These steps include:

I. Current needs:a. Room sound treatment (carpeting, acoustically treating ceilings and walls, use of

sound baffling).b. Sound barriers (Plexiglass barriers separating percussion and horn sections from

musicians anterior to them).c. Use of personal ear protectors for students and faculty.d. Appropriate scheduling that will permit “quiet” days prior to and following

rehearsal days.e. Implementation of a structured hearing conservation program to include student

and faculty education, elucidating the impact of noise on hearing, provision of preand annual hearing assessment, fitting of ear protection.

f. Provision of ear protection in all practice and rehearsal rooms.

II. Considerations for long term improvement:a. Structural room changes.b. Relocation of activities.c. Hiring of an acoustical architect.

Respectfully submitted,

oAlan Gertner, Ph.D., C.C.C.-A, F.A.A.A.Professor and Director of Audiological ServicesSchool of Communication Disorders and DeafnessNathan Weiss Graduate College

SPL Measurements 3/22/2016 Page 3

References:

* American Speech Language Hearing Association (ASHA).http://www.asha.org/public/hearing/Noise/. Retrieved 4/10/2016.

National Institute for Occupational Health and Safety (NIOSH).htty://www.cdc.gov/nioshltopics/noise/about.html. Retrieved 4/10/2016.

4* NIOSH — National Institute for Occupational Safety and HealthMcReynolds, M. (2005). Noise-induced hearing loss. Air Medical Journal, 24, 73-78.Shim, H.J. (2015). Noise-induced hearing loss. Hanyang Medical Review, 35, 84-91.Sliwinska-Kowalska, M. and Davis, A. (2012). Noise-induced hearing loss. Noise and Health,

14, 274-280.

PA119 Upgrade Proposal

May 2015

Apple Inc.Product/item Quantity Academic price per

unit

sub-total

iMac 21.5" 14 $1,014.00 $14,196.00

AppleCare Protection Plan for

iMac14 $119.00 $1,666.00

Logic Pro X 14 $199.99 $2,799.86

Apple USB SuperDrive 1 $79.00

$18,740.86 Apple Total

Ableton Inc.

Ableton Live Standard EDU 12 $215.20 $2,582.40

Ableton Live 9 Suite EDU 2 $359.20 $718.40

$3,300.80

Ableton

Total

$22,041.66

UPGRADE

TOTAL

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