Individual Piano Studies (syllabus subject to change at any point) for Performance, Pedagogy, Composition Majors (piano concentration), Piano Minors AND Graduate Students Instructor: Dr. Dena Kay Jones Office: 436 Fox Fine Arts, Music Email: dkjones@utep.edu Ph# (915) 747 – 6625 Office Hours: I am available to schedule conference times with any student via email or phone call. Course Description Study and performance of specific solo and collaborative piano repertoire, with additional evaluation in piano pedagogical content and methodology, career promotion, philosophies of music, and assessment of personal achievements in the various fields of piano. Goals The goals of the course are to prepare pianists to: . *Perform music effectively with knowledge of historical and theoretical context  . *Develop multiple approaches to learning, memorization, and musical thought   . * Prepare for and secure future engagements as a pianist, accompanied by also securing the confidence of understanding the administrative structures, responsibilities and expectations involved in these engagements   Objectives At the completion of the course, the student will be able to: . 1. Study and perform solo pieces (using both reading skills and memorization skills) through a variety of modes based on piano technique, theory, history and personal interpretation.   . 2. At the minimum, play all major and minor scales and understand key signatures (more advanced students will be held responsible for other technical concepts).   . 3. Sight read, playing from the beginning to the end of a work, without stopping.   . 4. Discuss particular piano works in regard to structure, harmony, melody, rhythmic content, and other musical parameters.   . 5. Set short-term and long term performance goals.   . 6. Write reports with historical research to improve critical listening and thinking skills, to gain knowledge of the piano repertoire canon and to develop writing skills.   Texts (not required) Materials will be taken from the following textbooks, and although not required for the class, may be textbooks you’ll want to add to your music library. Dubal, David. The Art of the Piano: An Encyclopedia of Performers, Literature and Recordings. (London: I.B. Tauris & Co. Ltd., 1990). ISBN#: 1-85543-217 1. Gillespie, John. Five Centuries of Keyboard Music: A Historical Survey of Music for Harpsichord and Piano. (New York: Dover Publications, Inc., 1965). ISBN#: 0-486-22855-X. Harris, Bette L. and Dorothy V. Harris. The Athlete’s Guide to Sports Psychology: Mental Skills for Physical People. (Champaign, Illinois: Leisure Press, 1984). ISBN#: 0-88011-206-9. Hinson, Maurice. Guide to the Pianist’s Repertoire. Third Edition. (Bloomington, Indiana: Indiana University Press, 1999). ISBN#: 0-253-33646-5. Hinson, Maurice. Music for Piano and Orchestra: An Annotated Guide. Enlarged Edition. (Bloomington, Indiana: Indiana University Press, 1993). ISBN#: 0-253-23546-2. Kirby, F.E. Music for Piano: A Short History. Forward by Maurice Hinson. Edited by Reinhard G. Pauly. (Portland, Oregon: Amadeus Press, 1995). ISBN#: 0-931340-86-1. Performance Opportunities We are fortunate to have many venues in which to try out new pieces, old pieces, or simply gain experience in performing the works you will study in class. Recital situations will be announced for those taking individual piano lessons. Attendance is required (and please invite your students, friends and families!). Midterm Expectations By now, many of you as musicians know that last minute preparation does not warrant successful performances. We as pianists are to do more than simply hit the right notes; one can only begin to understand and execute many more musical ideas when not consumed with the memory process. Knowing a piece “by heart” is the beginning steps in being an excellent pianist. In order to assist you with this philosophy, strict memory checks will be enforced: 1st lesson on a new piece of music (other than the memorized piece): You may use the score. Instructor will check for correct notes, rhythms, and finger numbers. 2nd lesson on a new piece of music: Music must be memorized. Failure to do so will result in the conclusion of the lesson. You will be required to have all repertoire memorized by week eight, unless special circumstances warrant otherwise. These circumstances should be discussed with your professor. During the eighth week of class, you will be required to play all of your jury pieces from memory as a midterm “exam.” The score of this exam will count 20% toward your final grade for this class. Should any piece not be completely memorized, you will fail the midterm exam, earning yourself a score of 50% on this test. The following table will be used as the assessment guide: . *90-100 points = A = Pieces memorized and played with an understanding of musical form, phrase structure, dynamic levels and some personal musical interpretation.   . * 80-89 points = B = Pieces generally memorized, but with a few memory slips and room for growth related to execution of musical form, phrase structure, dynamic levels and personal musical interpretation.   . * 70-79 points = C = Pieces very shaky memory-wise, and no understanding of musical form, phrase structure, or dynamic levels. No previous thought of musical interpretation.  . * 60-69 points = D = Pianist is not able to get from the beginning to the end of the piece.   . *50-59 points = F = Pianist must use music and has no conception of the piece whatsoever.   Double Jury For those who are currently enrolled in his/her fourth semester of the lower level study (1295), you must complete a double jury. There is no postponing the double jury for subsequent semesters. The double jury will be twice as long (25-30 minutes) as the regular jury, show an advancement in the difficulty of repertoire performed, require the playing of all major and minor scales and arpeggios and also call for the pianist to sight read. The double jury will be approved or denied by the Piano Faculty, which will be assessing your ability from the viewpoint of basic fundamentals (pieces in tempo, with correct finger numbers, correct notes, correct rhythms and solid memory) and musicianship (does the student show a comprehension of phrase structure, use of dynamics, pedaling, contrasts and attempting to offer some sort of individual interpretation?). The student will have two attempts to pass the double jury. If the student can not pass after the second attempt, this is grounds for dismissal from the program. Master Class is required. For every absence, (full or partial) you will receive a “0.” Do not ask to miss master class. Recital Requirements For Performance and Pedagogy Majors: Junior Recital must be completed during the Junior Year of study (usually semesters 5 + 6) and music from these semesters only are to be included in the program, unless otherwise determined by the instructor. 30 minute program. Student has two attempts to pass pre-recital hearing and recital (see below). For Performance and Pedagogy Majors: Senior Recital must be completed during the Senior Year of study (usually semesters 7 + 8) and music from these semesters only are to be included in the program, unless otherwise determined by the instructor. 60 minute program. Student has two attempts to pass pre-recital hearing and recital (see below). For Composition (Piano Primary Instrument) Majors: Senior Recital may be completed during the Senior Year of study (usually semesters 7 + 8) and music from these semesters only are to be included in the program, unless otherwise determined by the instructor. 30 minute program. Student has two attempts to pass pre-recital hearing and recital (see below). For Piano Minors: Junior and Senior Recitals are optional and up to the discretion of both student and professor. Pre-recital hearing is required (see below). Pre-Recital Hearings If you are playing a recital, degree or non-degree, Dr. Oscar Macchioni, Professor Ruben Gutierrez, Professor Bose and Dr. Jones will need to hear a pre-recital hearing four weeks prior to the recital. For the pre-recital hearing, any piece on the recital may be called for the faculty’s preview. Faculty will be assessing your ability from the viewpoint of basic fundamentals (pieces in tempo, with correct finger numbers, correct notes, correct rhythms and solid memory) and musicianship (does the student show a comprehension of phrase structure, use of dynamics, pedaling, contrasts and attempting to offer some sort of individual interpretation?). The idea is that the hearing is a professional-leveled performance: if you can play for a juried panel, you are ready to offer a solo recital. Once this pre-recital hearing has been approved, the recital is ensured to take place. If the student fails the pre-recital hearing, he/she will have another semester to learn an entirely or partially new program and attempt the pre-recital hearing again. However, just because one has passed the pre-recital hearing does not relieve the student from continued preparation: students may still fail the actual recital. Should the student pass the pre-recital hearing but fail the actual recital, he/she will have another semester to learn an entirely or partially new program and attempt the pre-recital and actual recital again. Bottom line: students have two attempts to pass the pre-recital hearing and/or the recital. Failure #2 in any part of this process results in removal from the music program. As these recitals are the main goals for Juniors and Seniors (and failing either the pre-recital or actual recital twice will result in removal from the program), should a student fail a pre-recital hearing or the actual recital itself, this will result as an “F” or 70% in regard to the grade given for “Lessons and Master Class” (50%) and “End of the Semester Jury” (20%). Please see grade weighting below. Music Reading Assignments Each student should be working to improve his/her reading ability. Within in the semester, the instructor will offer a sight reading example. Grading will be based on the following criteria: 1) correct notes, 2) correct rhythm, 3) correct finger numbers 4) dynamics 5) pedal (if applicable) and 6) articulation. The average of these “pop quiz” reading assessments will construct 5% of the final grade. Written Assignments In order to assess critical thinking and listening, as well as to improve the very difficult skill of writing about music, there will be written assignments due throughout the semester. Specifics about what to include in those assignments will be provided in master class. Combined, the written assignments total 15% of your total grade. Expectations and Grading Grades are based on . *Attendance and punctuality for lessons and Master Class; and if absence is necessary, the amount of effort shown toward notifying me if unable to attend lesson and/or Master Class.   . *Quality and quantity of practice as evidenced by progress from lesson to lesson.   . *Completing all assigned pieces and technical studies by the end of the semester.   . *Completing all assigned homework as required by class instructor.  “A”: Consistent work and continued progress throughout the semester “B”: As above, but reflecting less than consistent work throughout the semester, poor preparation that has the potential for improvement “C”: Inconsistent work, poor attendance or punctuality, and/or lack of participation. “D”: Inability to produce any positive results regarding performance or homework assignments. “F”: Failure to attend lessons and master class, or failure to show any work or preparation. Grades will be earned through the completion of the following activities and assignments with the grade weighting designated: Assignment Grade Weighting Lessons and Master Class .40 (.30 for lessons and .10 for Master Class Attendance and Participation) Midterm Exam .20 End of the Semester Jury .20 (plus consideration for Level Advancement) Written Assignments .15 Reading Grade .05 Grade Scale A=100-90 B=89-80 C=79-70 D=69-60 F=59-0 Computers All essays written outside of class must be done on a word-processor. Please see the instructor if you have any questions. Attendance Policy Lessons will be held in Music 436, Fox Fine Arts Building. Please knock on the door at your lesson time. Master Classes will be held each week at the same, designated time, regularly. Be sure that you know when and where that is to take place. Master Class is required. If you are ill, please notify me as early as possible by leaving a message at my email address, my office number, or at the Music Department Center Office (747-5606). If I am ill, I will have the office post a sign on my door in addition to contacting you as soon as possible. Student-missed lessons will not be rescheduled unless otherwise noted by the instructor, however in the event that the instructor misses a lesson, be assured that she will offer a make-up schedule for your consideration. It will be determined individually if lessons that fall on University Holidays are to be made up or not. Because of the nature of the studio master class, consistent attendance is a must for the successful student. Most aspects of the final grade result from in-class activity and lesson improvement throughout the semester. Therefore, students cannot get a good grade if they are not in lessons/class and contributing to class and group discussions. Nor can those students who miss out on class and group discussions or lectures expect to successfully complete assignments or exams. Therefore, the student who is flourishing in Applied Piano Studies is the student who attends regularly. When a student has compiled a total of four instances of unsatisfactory attendance, whether it be a lesson or master class, he/she will be dropped with a “W” from the course prior to the drop deadline or fail the course after the drop deadline. The only excused absences will be absences from university-sanctioned events (athletic events, concerts, etc.), emergency illness, a religious-affiliated absence, jury duty, or a funeral for a member of your family. Documentary proof of all five of these circumstances must be provided before or immediately after the fact. If you know that you will be absent from class, it is your responsibility to hand in assignments before your absence. The instructor will not accept late homework. Students are expected to be in the classroom during the entire class period. Excessive tardiness (coming in 10 minutes after the beginning of class) or leaving the classroom early—unless approved ahead of time with the instructor—will result in an absence. Students not meeting the above attendance requirements will be dropped from the course. Students dropped before the Course Drop Deadline will be dropped with a “W”; after the deadline, students will be dropped with an “F”. Your instructor may choose to make an exception to the above policies if she deems the circumstances warrant it. If you follow these instructions and devote yourself to your craft, you will succeed. Invest in yourself. Absorb yourself in Music Study and all that this entails. This is SUCH an exciting time in your life. And for those who are prepared: there is always a place for you in the world of Music. Always. Will you be one of the ones who is prepared?

Individual Piano Studies

(syllabus subject to change at any point)

for Performance, Pedagogy,

Composition Majors (piano concentration),

Piano Minors AND Graduate Students

Instructor: Dr. Dena Kay Jones

Office: 436 Fox Fine Arts, Music

Email: dkjones@utep.edu

Ph# (915) 747 – 6625

Office Hours: I am available to schedule conference times with any student via email or phone call.

Course Description

Study and performance of specific solo and collaborative piano repertoire, with additional evaluation in piano pedagogical content and methodology, career promotion, philosophies of music, and assessment of personal achievements in the various fields of piano.

Goals

The goals of the course are to prepare pianists to:

.*Perform music effectively with knowledge of historical and theoretical context

.*Develop multiple approaches to learning, memorization, and musical thought

.* Prepare for and secure future engagements as a pianist, accompanied by also securing the confidence of understanding the administrative structures, responsibilities and expectations involved in these engagements

Objectives

At the completion of the course, the student will be able to:

.1. Study and perform solo pieces (using both reading skills and memorization skills) through a variety of modes based on piano technique, theory, history and personal interpretation.

.2. At the minimum, play all major and minor scales and understand key signatures (more advanced students will be held responsible for other technical concepts).

.3. Sight read, playing from the beginning to the end of a work, without stopping.

.4. Discuss particular piano works in regard to structure, harmony, melody, rhythmic content, and other musical parameters.

.5. Set short-term and long term performance goals.

.6. Write reports with historical research to improve critical listening and thinking skills, to gain knowledge of the piano repertoire canon and to develop writing skills.

Texts (not required)

Materials will be taken from the following textbooks, and although not required for the class, may be textbooks you’ll want to add to your music library.

Dubal, David. The Art of the Piano: An Encyclopedia of Performers, Literature and Recordings. (London: I.B. Tauris & Co. Ltd., 1990). ISBN#: 1-85543-217 1.

Gillespie, John. Five Centuries of Keyboard Music: A Historical Survey of Music for Harpsichord and Piano. (New York: Dover Publications, Inc., 1965). ISBN#: 0-486-22855-X.

Harris, Bette L. and Dorothy V. Harris. The Athlete’s Guide to Sports Psychology: Mental Skills for Physical People. (Champaign, Illinois: Leisure Press, 1984). ISBN#: 0-88011-206-9.

Hinson, Maurice. Guide to the Pianist’s Repertoire. Third Edition. (Bloomington, Indiana: Indiana University Press, 1999). ISBN#: 0-253-33646-5.

Hinson, Maurice. Music for Piano and Orchestra: An Annotated Guide. Enlarged Edition. (Bloomington, Indiana: Indiana University Press, 1993). ISBN#: 0-253-23546-2.

Kirby, F.E. Music for Piano: A Short History. Forward by Maurice Hinson. Edited by Reinhard G. Pauly. (Portland, Oregon: Amadeus Press, 1995). ISBN#: 0-931340-86-1.

Performance Opportunities

We are fortunate to have many venues in which to try out new pieces, old pieces, or simply gain experience in performing the works you will study in class. Recital situations will be announced for those taking individual piano lessons. Attendance is required (and please invite your students, friends and families!).

Midterm Expectations

By now, many of you as musicians know that last minute preparation does not warrant successful performances. We as pianists are to do more than simply hit the right notes; one can only begin to understand and execute many more musical ideas when not consumed with the memory process. Knowing a piece “by heart” is the beginning steps in being an excellent pianist. In order to assist you with this philosophy, strict memory checks will be enforced:

1st lesson on a new piece of music (other than the memorized piece): You may use the score. Instructor will check for correct notes, rhythms, and finger numbers.

2nd lesson on a new piece of music: Music must be memorized. Failure to do so will result in the conclusion of the lesson.

You will be required to have all repertoire memorized by week eight, unless special circumstances warrant otherwise. These circumstances should be discussed with your professor. During the eighth week of class, you will be required to play all of your jury pieces from memory as a midterm “exam.” The score of this exam will count 20% toward your final grade for this class. Should any piece not be completely memorized, you will fail the midterm exam, earning yourself a score of 50% on this test.

The following table will be used as the assessment guide:

.*90-100 points = A = Pieces memorized and played with an understanding of musical form, phrase structure, dynamic levels and some personal musical interpretation.

.* 80-89 points = B = Pieces generally memorized, but with a few memory slips and room for growth related to execution of musical form, phrase structure, dynamic levels and personal musical interpretation.

.* 70-79 points = C = Pieces very shaky memory-wise, and no understanding of musical form, phrase structure, or dynamic levels. No previous thought of musical interpretation.

.* 60-69 points = D = Pianist is not able to get from the beginning to the end of the piece.

.*50-59 points = F = Pianist must use music and has no conception of the piece whatsoever.

Double Jury

For those who are currently enrolled in his/her fourth semester of the lower level study (1295), you must complete a double jury. There is no postponing the double jury for subsequent semesters. The double jury will be twice as long (25-30 minutes) as the regular jury, show an advancement in the difficulty of repertoire performed, require the playing of all major and minor scales and arpeggios and also call for the pianist to sight read. The double jury will be approved or denied by the Piano Faculty, which will be assessing your ability from the viewpoint of basic fundamentals (pieces in tempo, with correct finger numbers, correct notes, correct rhythms and solid memory) and musicianship (does the student show a comprehension of phrase structure, use of dynamics, pedaling, contrasts and attempting to offer some sort of individual interpretation?). The student will have two attempts to pass the double jury. If the student can not pass after the second attempt, this is grounds for dismissal from the program.

Master Class is required. For every absence, (full or partial) you will receive a “0.”

Do not ask to miss master class.

Recital Requirements

For Performance and Pedagogy Majors: Junior Recital must be completed during the Junior Year of study (usually semesters 5 + 6) and music from these semesters only are to be included in the program, unless otherwise determined by the instructor. 30 minute program. Student has two attempts to pass pre-recital hearing and recital (see below).

For Performance and Pedagogy Majors: Senior Recital must be completed during the Senior Year of study (usually semesters 7 + 8) and music from these semesters only are to be included in the program, unless otherwise determined by the instructor. 60 minute program. Student has two attempts to pass pre-recital hearing and recital (see below).

For Composition (Piano Primary Instrument) Majors: Senior Recital may be completed during the Senior Year of study (usually semesters 7 + 8) and music from these semesters only are to be included in the program, unless otherwise determined by the instructor. 30 minute program. Student has two attempts to pass pre-recital hearing and recital (see below).

For Piano Minors: Junior and Senior Recitals are optional and up to the discretion of both student and professor. Pre-recital hearing is required (see below).

Pre-Recital Hearings

If you are playing a recital, degree or non-degree, Dr. Oscar Macchioni, Professor Ruben Gutierrez, Professor Bose and Dr. Jones will need to hear a pre-recital hearing four weeks prior to the recital. For the pre-recital hearing, any piece on the recital may be called for the faculty’s preview. Faculty will be assessing your ability from the viewpoint of basic fundamentals (pieces in tempo, with correct finger numbers, correct notes, correct rhythms and solid memory) and musicianship (does the student show a comprehension of phrase structure, use of dynamics, pedaling, contrasts and attempting to offer some sort of individual interpretation?). The idea is that the hearing is a professional-leveled performance: if you can play for a juried panel, you are ready to offer a solo recital. Once this pre-recital hearing has been approved, the recital is ensured to take place. If the student fails the pre-recital hearing, he/she will have another semester to learn an entirely or partially new program and attempt the pre-recital hearing again. However, just because one has passed the pre-recital hearing does not relieve the student from continued preparation: students may still fail the actual recital. Should the student pass the pre-recital hearing but fail the actual recital, he/she will have another semester to learn an entirely or partially new program and attempt the pre-recital and actual recital again. Bottom line: students have two attempts to pass the pre-recital hearing and/or the recital. Failure #2 in any part of this process results in removal from the music program. As these recitals are the main goals for Juniors and Seniors (and failing either the pre-recital or actual recital twice will result in removal from the program), should a student fail a pre-recital hearing or the actual recital itself, this will result as an “F” or 70% in regard to the grade given for “Lessons and Master Class” (50%) and “End of the Semester Jury” (20%). Please see grade weighting below.

Music Reading Assignments

Each student should be working to improve his/her reading ability. Within in the semester, the instructor will offer a sight reading example. Grading will be based on the following criteria: 1) correct notes, 2) correct rhythm, 3) correct finger numbers 4) dynamics 5) pedal (if applicable) and 6) articulation. The average of these “pop quiz” reading assessments will construct 5% of the final grade.

Written Assignments

In order to assess critical thinking and listening, as well as to improve the very difficult skill of writing about music, there will be written assignments due throughout the semester. Specifics about what to include in those assignments will be provided in master class. Combined, the written assignments total 15% of your total grade.

Expectations and Grading

Grades are based on

.*Attendance and punctuality for lessons and Master Class; and if absence is necessary, the amount of effort shown toward notifying me if unable to attend lesson and/or Master Class.

.*Quality and quantity of practice as evidenced by progress from lesson to lesson.

.*Completing all assigned pieces and technical studies by the end of the semester.

.*Completing all assigned homework as required by class instructor.

“A”: Consistent work and continued progress throughout the semester

“B”: As above, but reflecting less than consistent work throughout the semester, poor preparation that has the potential for improvement

“C”: Inconsistent work, poor attendance or punctuality, and/or lack of participation.

“D”: Inability to produce any positive results regarding performance or homework assignments.

“F”: Failure to attend lessons and master class, or failure to show any work or preparation.

Grades will be earned through the completion of the following activities and assignments with the grade weighting designated:

Assignment Grade Weighting

Lessons and Master Class .40 (.30 for lessons and .10 for Master Class Attendance and Participation)

Midterm Exam .20

End of the Semester Jury .20 (plus consideration for Level Advancement)

Written Assignments .15

Reading Grade .05

Grade Scale

A=100-90 B=89-80 C=79-70 D=69-60 F=59-0

Computers

All essays written outside of class must be done on a word-processor. Please see the instructor if you have any questions.

Attendance Policy

Lessons will be held in Music 436, Fox Fine Arts Building. Please knock on the door at your lesson time. Master Classes will be held each week at the same, designated time, regularly. Be sure that you know when and where that is to take place. Master Class is required.

If you are ill, please notify me as early as possible by leaving a message at my email address, my office number, or at the Music Department Center Office (747-5606). If I am ill, I will have the office post a sign on my door in addition to contacting you as soon as possible. Student-missed lessons will not be rescheduled unless otherwise noted by the instructor, however in the event that the instructor misses a lesson, be assured that she will offer a make-up schedule for your consideration. It will be determined individually if lessons that fall on University Holidays are to be made up or not.

Because of the nature of the studio master class, consistent attendance is a must for the successful student. Most aspects of the final grade result from in-class activity and lesson improvement throughout the semester. Therefore, students cannot get a good grade if they are not in lessons/class and contributing to class and group discussions. Nor can those students who miss out on class and group discussions or lectures expect to successfully complete assignments or exams. Therefore, the student who is flourishing in Applied Piano Studies is the student who attends regularly. When a student has compiled a total of four instances of unsatisfactory attendance, whether it be a lesson or master class, he/she will be dropped with a “W” from the course prior to the drop deadline or fail the course after the drop deadline. The only excused absences will be absences from university-sanctioned events (athletic events, concerts, etc.), emergency illness, a religious-affiliated absence, jury duty, or a funeral for a member of your family. Documentary proof of all five of these circumstances must be provided before or immediately after the fact. If you know that you will be absent from class, it is your responsibility to hand in assignments before your absence. The instructor will not accept late homework.

Students are expected to be in the classroom during the entire class period. Excessive tardiness (coming in 10 minutes after the beginning of class) or leaving the classroom early—unless approved ahead of time with the instructor—will result in an absence. Students not meeting the above attendance requirements will be dropped from the course. Students dropped before the Course Drop Deadline will be dropped with a “W”; after the deadline, students will be dropped with an “F”. Your instructor may choose to make an exception to the above policies if she deems the circumstances warrant it.

If you follow these instructions and devote yourself to your craft, you will succeed. Invest in yourself. Absorb yourself in Music Study and all that this entails. This is SUCH an exciting time in your life. And for those who are prepared: there is always a place for you in the world of Music. Always.

Will you be one of the ones who is prepared?

Applied Piano Studies