School of Music

Appendices

Appendix A

Music Theory Diagnostic Examination

  1. Exam Format
    • The one-hour written exam tests your analytical proficiency through score study of music from the common-practice period.  The exam will involve Roman numeral harmonic analysis of a musical excerpt containing modulations and chromatic harmony (secondary functions, mixture, Neapolitan sixth chord, augmented-sixth chord). Questions concerning tonal/harmonic structure, musical form, and compositional technique (sequence, pedal, motivic development, developmental procedures, imitation, etc.) will be included.
  2. Sources for Study
    • Laitz and Bartlette, Graduate Review of Tonal Theory.
    • Kostka and Payne. Tonal Harmony.
    • Spencer and Temko. A Practical Approach to the Study of Form in Music.
    • Santa. Hearing Form.

The Music Theory Faculty also has placed links to online music theory resources, including ear-training drills, on its website:  https://music.baylor.edu/areas-study/theory/theory-resources 

Appendix B

Music History and Literature Diagnostic Examination

Study Guide

The Graduate Diagnostic Exam in Music History is designed to test competency with the history of Western art music. Students are expected to demonstrate a working knowledge of music history and style from the Middle Ages to the present.

The Exam will consist of analytical listening, a chronology, and short answers.

  1. Analytical Listening
    • Familiarity with the sound of the music is essential to understanding historical developments of musical style and ideas.  The Listening portion of the Exam will consist of approximately 12 short musical examples representing each of the historical time periods (Middle Ages to the present).  Each example will be played once.
    • Students will be asked to describe style traits and defining compositional techniques.  Students will be expected to apply their observations to determine the most likely genre (type of composition), historical period, date range (within early, mid, late century), and probable composer.
  2. Chronology
    • In the chronology, students will be asked to demonstrate a knowledge of the historical eras and their contexts. Students should be prepared to create a timeline for all of the historical periods of Western Music. The timeline should include names of the historical periods and dates, important stylistic traits and prominent musical techniques, significant genres and major composers, and historical context (noteworthy events or philosophical ideas outside of music).
  3. Short Answers
    • Short answers will include contextualization of composers, musical terms, and compositional techniques.
      • For composers, students will be asked to give the historical period and representative types of composition (characteristic genres & forms) associated with each composer.
      • For musical terminology, students will be expected to define each term, and give the primary historical period and representative composer(s) associated with each term.
      • To demonstrate an understanding of compositional techniques, students will be asked to describe the technique and give an example of a representative composer and composition.

As you prepare for the test, please focus on the following topics for each of the music historical periods:

  • Characteristic genres and forms
  • Defining features of the various genres and forms
  • Predominant instruments and ensembles (vocal & instrumental)
  • Representative works
  • Representative composers and their approximate dates (early, mid, late century)
  • Major lines of stylistic development
  • Characteristic traits and styles of individual composers
  • Chronology of events, composers, important works of the period
  • Historical context and philosophical outlook of the period
  • Definitions of terms & compositional techniques specific to the period

To prepare for these examinations, the following books would be helpful:

  • Burkholder, J. Peter; Grout, Donald Jay; and Palisca, Claude V.  A History of Western Music. [Preferably 8th or 9th edition]
  • Morgan, Robert.  Twentieth-Century Music.
  • Bonds, Mark Evans.  A History of Music in Western Culture. 

Appendix C

Piano Proficiency Requirements (Church Music)

Secondary Piano Curriculum

Piano Level IVs:  Proficiency Requirements for Church Music.

Repertoire

  1. Two pieces, not memorized, intermediate level.
  2. One patriotic song with introduction, singing tempo.

Technique

  1. Pentascale vocal warm-ups cycling through all major keys, sung and played.
  2. Pentascale vocal warm-ups cycling through all major keys, conducted and played.

Harmonization

  1. At-sight examples using I/IV/V7 chords.
  2. Prepared lead sheet examples with broken chord accompaniments.
  3. Prepared worship songs with two-hand accompaniments.

Sight Reading

  • Four-voice chorale textures.

Score Reading

  • Prepared choral scores, SATB.

Appendix D

Piano Proficiency Requirements (Composition)

Secondary Piano Curriculum

Piano Level IVs: Proficiency Requirements for Composition.

Repertoire

  • Two pieces, not memorized, intermediate level.

Technique

  • All major scales and triad arpeggios, 2 octaves, hands together.

Harmonization

  1. At-sight examples using I/IV/V7 chords.
  2. Prepared lead sheet examples with broken chord accompaniments.

Transposition

  • At-sight melodies in major and minor keys, demonstrating knowledge of standard instrumental transpositions.

Sight Reading

  • Four-voice chorale textures.

Score Reading

  • Prepared examples involving any combination of three non-transposing lines from instrumental scores and all four parts of SATB choral scores.

Appendix E

Piano Proficiency Requirements (Musicology)

Secondary Piano Curriculum

Piano Level VIs:  Proficiency Requirements for Musicology

Repertoire

  • 2 pieces, not memorized, intermediate level

Technique

  • All major, harmonic minor, and melodic minor scales and triad arpeggios, two octaves minimum, hands together

Harmonization

  • At-sight examples using I/IV/V7 chords with broken chord accompaniments

Transposition

  • Prepared hymns transposed up or down no more than a second

Sight reading

  •  A piano solo of early intermediate difficulty

Score reading

  • Prepared choral scores, SATB

Appendix F

Piano Proficiency Requirements (Music Theory)

Secondary Piano Curriculum

Piano Level VIIIs: Proficiency Requirements for Music Theory. 

Repertoire

  • Four pieces, late intermediate level, memorization optional.
  • One instrumental accompaniment, performed with soloist.

Technique

  1. All major, harmonic minor, and melodic minor scales and triad arpeggios, four octaves, hands together.
  2. All diminished seventh arpeggios in root position, four octaves, hands together.

Harmonization

  1. At-sight examples using I, IV, V7, V7/V, and V7/IV chords with broken accompaniment.
  2. Prepared lead sheet examples with broken chord accompaniment.

Sight Reading

  • A piano solo of intermediate difficulty.

Score Reading

  • Prepared three-part instrumental scores, including one transposing part.

Appendix G

Performance, Jury, and Recital Requirements in Piano Recitals

Advanced Performers Certificate

  • Two solo recitals, each with a minimum performance time of sixty minutes, and two full-length collaborative recitals.  The solo and collaborative recitals must receive a grade of A or A- to be passed.

Graduate

  • Piano Performance: one solo recital between fifty and sixty minutes in length is required.
  • Piano Pedagogy and Performance: one solo recital between fifty and sixty minutes in length is required.
  • Collaborative Piano: one recital featuring vocal and instrumental accompanying, between fifty and sixty minutes in length, is required.
  • Church Music, Piano: one solo recital or a combined solo-ensemble recital between fifty and sixty minutes in length is required.

Recital Hearings

Recital hearings for graduate degrees and for the Advanced Performers Certificate are optional.

Appendix H

Piano Juries

Advanced Performers Certificate

  • Students in the Advanced Performers Certificate program must present a qualifying jury during the first year of residence prior to the first recital as confirmation of full acceptance to the program.
  • Students in the Advanced Performers Certificate Program must present a jury in semesters they do not perform a solo recital.

Graduate

  • Students in Piano Performance, Piano Pedagogy and Performance, Collaborative Piano, and Church Music (Piano) must present a qualifying jury during the first year of residence prior to the recital as confirmation of the area of concentration.
  • Students in graduate piano degrees must present a jury in semesters they do not give a degree recital.
  • Students in Theory, Composition, Music History, and Church Music must perform a jury each semester they are registered in piano until all degree requirements in secondary piano have been passed.

Piano Jury Exemptions and Incompletes

Non-music majors (electives) and students who have completed degree requirements in secondary piano must present a jury at least every other semester.

A grade of “Incomplete” in piano may be given when a jury is missed due to illness confirmed by a doctor’s excuse or to a death in the immediate family or when a student passes a recital hearing at the end of a semester and the recital will be performed at the beginning of the next semester.  It is the student’s responsibility to complete the course requirements and to see that the incomplete grade is removed from the record. A student may not graduate with an “I” incomplete on their transcript.  The incomplete grade will change to an “F” when the student reaches their time limit for degree completion, is certified to graduate, or withdraws from the program.

Appendix I

Graduate Recital Checklist

Please note that these procedures differ from Undergraduate Recitals

  • Register for MUS 5170 or MUS 5280 (Recital) based on degree requirements
  • Form a graduate committee
    • Consult with your Studio Teacher and Associate Dean for Graduate Studies
    • Requirements differ by dept.  (Piano Pedagogy differs from Voice, for example.)
  • Check the Graduate Handbook for details.
    • This committee will assess your recital and conduct your final oral exam.
  • Consult your studio teacher and collaborative pianist about possible dates and times
    • The School of Music utilizes the Astra electronic calendar provided by the university as its primary scheduling tool. This calendar is the only source that is up-to-date and provides real-time information on all events that are scheduled within the school.  Students are encouraged to use this calendar in when investigating possible recital dates, times, and locations.
  • Recital Sign-up:  Sign up for date and time as described in Graduate Handbook.
  • Inform Graduate Academic Advisor AND your committee members of date, time, and place.
  • Type Up Draft Program.  Write timings for each piece and total time of music on draft.
  • ALL of your committee proofs and signs program draft.  Collect their signatures (can be e-mails forwarded to Graduate Academic Advisor).
    • Complete this at least 17 days prior to recital
  • Make any necessary corrections
  • Associate Dean for Graduate Studies approves program AFTER all of your committee has approved it
  • After approval, Associate Dean for Graduate Studies forwards your program to the Concert and Promotions Specialist for final approval
  • Upon final approval, programs are sent to the Copy Center and 75 copies of the program will be printed. Students will receive an email about when they can pick up their programs from the Copy Center (Morrison Hall, Room 150, hours 7:00-5:00 Monday through Friday).
  • Many studios require program notes in addition to the formal recital program.  Please consult your applied teacher.  It is the student’s responsibility to prepare and copy the program notes. 

Appendix J

Instructions for Preparing a Thesis Prospectus

Last updated July 2022

The thesis serves as the capstone of the M.M. programs in Musicology and Music Theory and the Thesis Concentration of the M.M. and M.M./M.Div. in Church Music.  The student conducts independent research and presents his or her findings in a well-written, scholarly document. 

Process and Time Frame

Students will meet with a graduate faculty mentor(s) to develop the subject of the thesis and the prospectus.  The completed prospectus should be approved by signature of the faculty member who has agreed to serve as the thesis advisor before being circulated to the remaining members of the student’s graduate committee.  The thesis advisor will serve as chair of the student’s thesis committee.  The student will inform the Associate Dean for Graduate Studies (1) that the student’s thesis prospectus is under review, (2) who has agreed to serve on the committee, and (3) the date of the prospectus defense.

The student’s graduate committee will review the prospectus and then meet with the student to discuss the proposal and give final approval to the prospectus.  The committee may decide to approve the prospectus, request slight revisions, request substantial revisions, or ask the student to formulate a new prospectus. When the committee approves the prospectus, each committee member and the Associate Dean for Graduate Studies will sign the thesis prospectus signature page. 

The Graduate Handbook of the School of Music states that the prospectus must be presented to the graduate committee “no later than the end of the second semester of study.”  Under normal circumstances, students will register for one or two hours of thesis credit in their third semester; they will register for either one or two hours of thesis credit during the fourth semester.  The Graduate School requires that students must be registered for thesis credit or a course during the semester in which they defend their theses.

Contents of the Prospectus

The thesis prospectus should consist of the following items.

  1. Title/Signature page.
  2. Statement of the thesis.  This is a prose section that should include the following information.
    1. The subject matter to be pursued. What is the thesis about?

    2. The need for and feasibility of the study. Why does the topic merit study? How and what will it contribute to the body of knowledge?  Has another thesis or a book, dissertation, or composition been written on the same or similar topic?  If so, how will your study build on or differ from that research?

      The prospectus must demonstrate that the student has done sufficient background research and display knowledge of the current literature in the field.  It also should address feasibility.

      Is it possible in the present circumstances to complete a study on this topic?  The study may not be feasible if appropriate sources are not available; e.g., one should not consider writing a thesis on a medieval manuscript if you have no access to the manuscript.

    3. The methodology to be employed.  Will this be a “traditional” research document?  Will interviews be conducted?  Is music transcription involved?  Will you be relying upon primary and secondary sources?
    4. The scope and limitations of the project. What is going to be included and what excluded?  How will the topic be limited by time, geography, medium, geography, musical form, etc.?  What works will you address and/or use as case studies?
    5. The expected problems and proposed solutions. What special requirements are needed to complete the task and how do you propose to meet them?  For example, will the project require special knowledge of a language, transcribing recordings, transcribing unfamiliar notation, acquisition of scores?  How do you plan to meet these obstacles?
  3. A proposed outline of the paper (chapter titles and any significant subheadings) or composition.
  4. A comprehensive preliminary bibliography of sources to be used in researching and writing the thesis.

Formatting of the Prospectus

The formatting of the prospectus should follow the Graduate School’s instructions for theses/dissertations (https://www.baylor.edu/graduate/index.php?id=959239). Note especially the following items and their exceptions.

  1. Formatting Resources (Formatting CliffNotes)
  2. Signature page (here is the template).
  3. Margins and page numbering.
  4. Do not include a table of contents.

Some more advice:  Kate Turabian’s A Manual for Writers, 9th ed., is the style manual used in the School of Music.  The opening chapters contain some valuable advice concerning formulating and refining a research topic.  Students are strongly encouraged to read (and reread) Chapters 1, 2, and 5 and to consult other chapters as they write their theses.

Student also should participate in the thesis and dissertation formatting workshops offered periodically by the Baylor University Graduate School. For more information, please go to:  https://www.baylor.edu/graduate/index.php?id=958619

Students who are double majors:  The graduate committee for students who are double majoring will incorporate the graduate committee for the first major and any additional faculty required by the second major.  For example, a Vocal Performance/Musicology major will need at least two voice faculty and two musicology faculty to serve on his/her graduate committee.  The thesis readers may be a subset (three faculty members) from the whole committee.

Appendix K

Checklist for Graduation - Master's Degree

This checklist is provided for convenience and quick reference for students who are entering their last semester of study in the M.M. program.  Unless otherwise noted, these items are required of all M.M. students. For important deadlines, visit here.

_____  File for graduation in the Graduate School: https://www.baylor.edu/graduate/index.php?id=959289

_____  All diagnostic exam requirements in Musicology and Music Theory satisfied (before scheduling of oral exam)

_____  All foreign language requirements satisfied [Musicology students only]

_____  All diction requirements satisfied [Vocal Performance / Collaborative Piano / Choral Conducting/ Church Music with vocal performance emphasis students only] (before scheduling of oral exam)

_____  All piano proficiency requirements satisfied [Musicology, Music Theory, Composition, Church Music students only] (before scheduling of oral exam)

_____  All “Incomplete” grades from previous semesters removed (before scheduling of oral exam)

_____ Recital scheduled [Performance, Collaborative Piano, Piano Pedagogy and Performance, Church Music with performance, composition, or conducting emphasis majors only

_____  Copies of final thesis draft or performance document or final research project submitted to faculty committee [Thesis students, Composition, Piano Pedagogy, Music Education, Church Music, Conducting]

_____  Oral examination and/or Thesis Defense [Must be scheduled with Graduate School 10 working days before the exam]

_____  Defended and approved thesis submitted to Graduate School [Thesis and Composition students only]

Appendix L

Checklist for Doctoral Preliminary Exams and Graduation

These checklists are provided for convenience and quick reference for students who are preparing for preliminary exams or entering their last semester of study in the Ph.D. or D.M.A program.  For dates, see the Academic Calendar in the Graduate Catalog [https://www.baylor.edu/graduate/index.php?id=959244] and/or the Graduate School Website. [https://www.baylor.edu/graduate/index.php?id=959509]

Prior to Preliminary Exams:

_____  All diagnostic exam requirements in Musicology and Music Theory satisfied

_____  All piano, voice, and conducting proficiency requirements satisfied

_____  All foreign language requirements satisfied

_____  39 credit hours toward the degree have been completed

Final Semester:

_____ Enroll in at least one credit hour

_____  File for graduation in the Graduate School: https://www.baylor.edu/graduate/index.php?id=959289

_____ Final recital scheduled or previously completed [D.M.A.only]

_____  All “Incomplete” grades from previous semesters removed (before scheduling of oral exam)

_____  Copies of final dissertation draft or performance document submitted to faculty committee

_____  Oral examination and/or dissertation defense [Must be scheduled with Graduate School 10 working days before the exam]

_____  Defended and approved dissertation submitted to Graduate School [Ph.D. only]

Appendix M

Baylor University Graduate School

Graduate Advisor/Advisee Agreement

Graduate Student:
  1. Assume the primary responsibility for the successful completion of degree and development of career. Remain committed to graduate education and maintain high levels of professionalism, self-motivation, engagement, curiosity, and ethical standards. Seek guidance from faculty, career counseling services, committee members, and other available resources.
  2. Meet regularly with advisor and provide regular progress updates.
  3. Work with research advisor to develop a thesis/dissertation project. Strive to establish a clear timeline and meet established deadlines.
  4. Work with research advisor to select an Advisory/Supervisory/Dissertation committee. Commit to checking in with this committee on a regular basis (as suggested by research advisor).
  5. Attend and participate in cohort meetings, laboratory meetings, seminars, journal clubs, academic workshops, etc., that are part of educational program and recommended by faculty.
  6. Maintain the academic and ethical standards of my graduate program, academic field, and institution. Be knowledgeable about the requirements for graduate program and assistantship and meet the requirements.
  7. Participate in all training required by the university and graduate program for research and teaching responsibilities. Comply with all institutional policies.
  8. Be a good research citizen. Receive the written permission of research group and/or advisor before publicly sharing or publishing research findings. Agree to take part in shared responsibilities of the research group in a collegial and professional manner.
  9. Discuss authorship and collaborative research with my research advisor and cohort peers.
  10. Uphold the Graduate School standards for professional behavior.
  11. Maintain high personal and ethical standards for own research.
Graduate Advisor:
  1. Mentor the graduate student as a future member of the scholarly community.
  2. Oversee the research project of the graduate student, including planning, directing, and establishing a reasonable timeline for the project. Commit to overseeing student research and reading student work within a timely manner. Help the student select an appropriate Advisory/Supervisory/Dissertation/Thesis committee.
  3. Meet individually with the graduate student on a regular basis and provide appropriate resources.
  4. Understand the requirements and deadlines of the graduate program and communicate those requirements and deadlines with the student.
  5. Discuss authorship and attendance at professional meetings with the graduate student and help train the graduate student to be a good research citizen. Acknowledge the graduate student’s contributions to projects beyond his or her own, and work with the graduate student to publish his/her work in a timely manner.
  6. Lead by example and facilitate the training of the student in necessary skills, such as oral and written communication, grant writing, archival research, animal and human research policies, ethical conduct of research.
  7. Be supportive, equitable, accessible, encouraging, and respectful. Work hard to provide an emotionally supportive and intellectually stimulating learning environment that is safe and free from harassment.
  8. Provide career advice and assist in helping the student meet career goals. Participate in helping secure and facilitate funding to support training.
  9. Refrain from requiring the graduate student to perform tasks that are unrelated to his/her training program and professional development.

Appendix N

Graduate Faculty of the School of Music (by Division)

Academic Studies
  • James Bennighof
  • Randall Bradley
  • Alfredo Colman
  • Jann Cosart
  • Monique Ingalls
  • Eric Lai
  • Matthew Laube
  • Scott McAllister
  • Horace Maxile
  • Timothy McKinney
  • Samuel Parler
  • Robin Wallace
  • Laurel E. Zeiss
Ensembles
  • J. Eric Wilson
Instrumental
  • Euridice Alvarez
  • Philip Borter
  • Charlotte Daniel
  • Kent Eshelman
  • Eka Gogichashvili
  • Ran Kampel
  • Todd Meehan
  • Kristy Morrell
  • Sandor Ostlund
  • Wortley “Wiff” Rudd
  • Patricia Shih
  • Ann Shoemaker
Keyboard
  • Kae Hosoda-Ayer
  • Lesley McAllister
  • Shijun Wang
Vocal
  • Robert Best
  • Mark Diamond
  • Kimberly Monzón
  • Kathleen Kelly
  • Jeffrey Peterson
  • Jamie Van Eyck
  • Deborah Williamson
Music Education
  • Michael Alexander
  • Michele Henry

School of Music

 
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