Performance Juries, Degree Recitals, & Recital Procedures

 

PERFORMANCE JURIES 

All applied music students must take a jury examination at the end of each semester during Finals Week. In effect, the performance jury at the end of every term is the equivalent of a final exam for every applied area of study. If DMA students have performed a recital that semester in fulfillment of degree requirements, they may be exempted from a jury examination.

Scheduling is done by individual sign-up for the Finals Week juries. Approximately 10 days prior to juries, sign-up sheets are posted on the appropriate applied faculty doors (usually the head of the area, such as brass, woodwinds, voice, etc.). The specific content and length of each student's jury is determined by the applied area. A panel of area faculty members serves as the evaluating group; each member registers a grade for the performance and the results are averaged together. The final jury grade is weighed as one third of the current semester's final applied studio grade.

Failure to meet expected standards in a jury can result in probationary status for one semester, at the end of which significant improvement must be demonstrated. If standards are not sufficiently met, dismissal from the applied area or the reduction or elimination of financial support may be considered by the appropriate area faculty member. 

RECITALS FOR PERFORMANCE & JAZZ STUDIES-PERFORMANCE STUDENTS 

DMA students in instrumental and vocal performance, and in jazz studies-performance, give five degree recitals. These five recitals may be given in any order, though customarily the lecture-recital is the last to be given. Three must be successfully completed prior to comprehensive examinations.

Students must register for each recital. There is no required minimum number of credits that must be earned in recitals, so students may enroll for zero (0) credit in MUSR 98, or they may enroll for 1-3 credits in MUSR 998. The maximum total number of credits earned in MUSR 998 is not to exceed 12.

Students must be enrolled in applied music with their primary teacher during the semester a degree recital is given. If the grade of incomplete is recorded for a recital, the student will be required to register for applied music in the semester in which the recital is given (credit hours to be determined by the supervisory committee).

In a semester in which a DMA student has performed a recital in fulfillment of degree requirements, that student may be exempted from the end-of-semester jury.

RECITAL OPTIONS (thru May 2018)

A doctoral student in performance has four options for the five-recital requirement:

OPTION 1: The student performs three full-length solo recitals (each at least 50 minutes performing time), one full-length chamber music recital and a lecture recital.

Or,
OPTION 2: The student performs four full-length solo recitals (each at least 50 minutes performing time) and a lecture recital featuring chamber music.

Or,
OPTION 3: The student performs a chamber work on each of four full-length solo recitals (each at least 50 minutes performing time) and lecture recital.

Or,
OPTION 4: For doctoral students pursuing the Chamber Music Option only. The student performs three full-length chamber music recitals (each at least 50 minutes performing time), one full-length solo recital and a lecture recital featuring solo or chamber music.

[Note: Chamber Music, as it appears in the context of this section of the Handbook, shall be defined as 3 or more instruments realizing a composition (one on a part). A student performing chamber music in the context of a full-length chamber recital, or chamber music as a part of four full-length recitals or a lecture recital, should register that semester for recital credit, not chamber music credit. Other students performing in the chamber ensemble may register for chamber music credit. Pianists enrolled in chamber music may not charge an accompanist's recital fee for the enrolled recital.]

[Note: A faculty member coaching a chamber ensemble that is performing for DMA recital credit in a given semester does not get load credit for this coaching unless the ensemble rehearses throughout the semester and meets the chamber music performance requirements.]

After May 2018:

For DMA students pursuing the Chamber Music Option only:

 The student performs three full-length chamber music recitals (each at least 50 minutes performing time), one full-length solo recital, and a lecture recital featuring solo or chamber music.

 For all other DMA students in performance:

 The student performs four full-length recitals (each at least 50 minutes performing time) and a lecture recital. Recitals may contain one or more works of chamber music, at the discretion of the Supervisory Committee and in accordance with the policies of the student’s performance area.

  [Note: A student performing chamber music in the context of a full-length chamber recital, or chamber music as a part of four full-length recitals or a lecture recital, should register that semester for recital credit, not chamber music credit. Other students performing in the chamber ensemble may register for chamber music credit. Pianists enrolled in chamber music may not charge an accompanist's recital fee for the enrolled recital.]

 [Note: A faculty member coaching a chamber ensemble that is performing for DMA recital credit in a given semester does not get load credit for this coaching unless the ensemble rehearses throughout the semester and meets the chamber music performance requirements.]

 SUBSTITUTIONS FOR VOICE STUDENTS

For DMA students in vocal performance, a lead role in a major opera may substitute for a maximum of one of the full-length recitals at the discretion of the Supervisory Committee. The Graduate Committee of the Glenn Korff School of Music must then approve the substitution. The request for substitution should occur well in advance of the performance to allow the members of the student's Supervisory Committee to attend and assess the performance. As with any recital, a Recital Evaluation Form with grade must be submitted by the Committee. The student also will fulfill all the usual aspects of the recital process, such as enrollment for recital credit and payment of the recital fee.

 THE LECTURE RECITAL

One lecture recital is required. It must be at least 60 minutes in length (maximum, 75 minutes) and involve performance of one or more compositions. The verbal presentation by the student is intended to serve as a model for future professional presentations. It must contribute to existing knowledge and may concern the historical background, the musical structure, pedagogical issues and other matters relevant to the performance or composition(s). Emphasis should be given to those points which have a bearing on the manner of performance of the music. Before this recital can be scheduled, a formal, typewritten paper consisting of or including the verbal presentation must be given signed approval by the chair of the student's Supervisory Committee. The paper must be filed with the Graduate Secretary.

REPERTOIRE APPROVAL

Approval of repertoire in advance of recitals is the prerogative of the Supervisory Committee, and as such, the specific process will vary from area to area. Stipulations regarding the process for receiving advanced approval of recital repertoire should be communicated to the student by the Supervisory Committee at the same time the committee chair advises the student of the chair's notification to the Graduate Committee that the Program of Studies has received Supervisory Committee approval.

RECITAL DURATION

Each DMA doctoral student in performance must perform full-length recitals of at least 50 minutes and no more than 60 minutes duration (actual performing time) and a lecture recital of at least 60 minutes duration (actual presentation/performing time). The maximum recital length applies only to recitals given in Kimball Hall or Westbrook Recital Hall (WMB rm 119). The total time available for each recital or lecture recital will include fifteen minutes of preparation time in the recital hall and a maximum time of 75 minutes for the recital itself (start on-stage to finish off-stage).

RECITALS FOR CONDUCTING STUDENTS 

DMA conducting students should know that approval of repertoire in advance of recitals is the prerogative of the Supervisory Committee, and as such, the specific process will vary from area to area. Stipulations regarding the process for receiving advanced approval of recital repertoire should be communicated to the student by the Supervisory Committee at the same time the committee chair advises the student of the chair's notification to the Graduate Committee that the Program of Studies has received Supervisory Committee approval. Students must be enrolled in applied music with their primary teacher during the semester in which a degree recital is given.

In the Program of Studies there is no required minimum number of credits for recitals.

The DMA conducting student must complete the equivalent of a total of three (3) full recitals, of which one must be a full recital conducted throughout by the student. In special circumstances with the permission of the Supervisory Committee, a student may perform two half recitals in lieu of one full recital. Thus, the remaining two recitals may be completed as full recitals, or half recitals.

In respect to duration, a full recital by a DMA conducting student is defined as a recital totaling 50 minutes of performing time or two half recitals totaling 50 minutes of performing time. The total time available for each recital or lecture recital will include fifteen minutes of preparation time in the recital hall and a maximum time of 75 minutes for the recital itself (start on-stage to finish off-stage).

Each half-recital is to be evaluated separately (as, for example, "Recital 2A" and "Recital 2B") and the two grades averaged. Moreover, the two Evaluation Forms for the pair of half-recitals are to be submitted to the Graduate Secretary together, along with an indication of the averaged grade, only after the second half-recital has taken place. Similarly, if the two half-recitals are presented in different semesters, the student will enroll for recital credit and pay the recital fee only in the semester during which the second half-recital takes place.

 SUBSTITUTIONS FOR CONDUCTING STUDENTS

For a DMA student in conducting, recital credit may also be granted, at the discretion of the Supervisory Committee and with the approval of the Glenn Korff School of Music Graduate Committee, for work by that conducting student in the preparation of a component of a larger collaborative performance, whether or not the student conducts the final collaborative product. This contingency accommodates such responsibilities as serving as chorus master for an opera or choral-instrumental work. Only one of the required full recitals may be completed in this manner.

The request for substitution should occur well in advance of the performance. It is the responsibility of the Supervisory Committee to determine prior to the start of the rehearsal process whether the scope of the work and rehearsal process merit consideration as a full-recital or half-recital. Assessment by the Supervisory Committee will take place during the rehearsal process, at the conclusion of which a Recital Evaluation Form with grade must be submitted. The student will fulfill all the usual aspects of the recital process, such as enrollment for recital credit, payment of the recital fee, and completion of program notes.

DEADLINES

Two of the three conducting recitals must be successfully completed prior to taking the comprehensive examinations. The third conducting recital is usually performed after the student has passed the comprehensive examination and is admitted into candidacy for the degree.

 PROGRAM NOTES

Students shall write programnotes for all degree recitals. Program notes shall be due to the chair of the supervisory committee at least four weeks prior to each performance. After consultation with the chair, program notes will be provided to the committee for optional review at least three weeks prior to the performance. All program materials are due to the GKSOM Main Office (into the hands of the Marketing and PR Coordinator) two weeks prior to the performance. Program notes should reflect a balance of vernacular and scholarly content and style.

 PERFORMING FORCES

Performing forces for DMA conducting recitals are obtained in one of the following three ways:

Most customarily, the student organizes his/her own ensemble, of a size appropriate to the repertoire approved for the recital. Ensemble personnel consists primarily of UNL student musicians engaged by the student conductor; when necessary, these forces may be augmented by professional musicians from outside UNL. Any expenses incurred the formation of the recital ensemble are the responsibility of the conducting student. Performing personnel should be selected in close consultation with studio faculty in the student's performing area, and a complete written list of performers must be approved by the Chair of the student's Supervisory Committee prior to the first rehearsal. The student also assumes responsibility for all rehearsals, rehearsal space, rehearsal accompanists, instruments, scores and parts, and performance location.

Less commonly, a standing ensemble of the Glenn Korff School of Music may on occasion be available for use in all or part of a DMA conducting recital. Again, this situation arises relatively rarely, and always at the discretion of the ensemble's director and instructor of record and with the approval of the Chair of the student's Supervisory Committee.

In exceptional circumstances, a standing ensemble from outside the Glenn Korff School of Music may be used for a DMA conducting recital. These circumstances are likely to exist when the conducting student is affiliated with an outside ensemble as its director or as an associate conductor, and when the outside ensemble is judged by the student's Supervisory Committee to exhibit a technical and artistic level of performance commensurate with the level of conducting technique and interpretation expected of a student in the DMA program. Any UNL graduate student conductor desiring to use a non-UNL ensemble must request permission, in writing, from his/her Supervisory Committee. The conducting student presenting the recital is responsible for initiating the written petition and must obtain signatures from all his/her Supervisory Committee members and approval from the Graduate Committee before the recital is scheduled. A copy of the approved petition is to be placed in the student's official folder.

RECITALS FOR COMPOSITION & JAZZ STUDIES-COMPOSITION STUDENTS 

DMA students in Composition and in Jazz Studies-Composition should know that approval of repertoire in advance of recitals is the prerogative of the Supervisory Committee and as such, will vary from to area to area. Stipulations regarding advanced approval of recital repertoire should be communicated to the student by the Supervisory Committee at the same time that the chair advises the student of the chair's notification to the Graduate Committee that the Program of Studies has received Supervisory Committee approval. Students must be enrolled in composition lessons with their primary teacher during the semester in which a degree recital is given.

 For a doctoral student in Composition, a minimum of two (2) recitals is required; one of which must be successfully completed prior to comprehensive examinations. The second recital, a lecture recital, is usually performed after the student has passed the comprehensive examination and is admitted into candidacy for the degree. A minimum of thirty minutes of required compositions must be programmed on each recital. Thus, a doctoral student in Composition must compose a minimum of sixty minutes of original music after being admitted to the doctoral program.

 For a doctoral student in Jazz Studies-Composition, a minimum of three (3) recitals is required, two of which must be successfully completed prior to comprehensive examinations. The third recital, a lecture recital, is usually performed after the student has passed the comprehensive examination and is admitted into candidacy for the degree. A minimum of thirty minutes of required compositions/arrangements must be programmed on each recital. Thus, a doctoral student in Jazz Studies-Composition must compose/arrange a minimum of ninety minutes of original music after being admitted to the doctoral program.

The total time available for each recital or lecture recital will include fifteen minutes of preparation time in the recital hall and a maximum time of 75 minutes for the recital itself (start on-stage to finish off-stage). The maximum recital length applies only to recitals given in Kimball Hall or Westbrook Recital Hall (WMB rm 119).

RECITAL PROCEDURES

Students who want to give a solo or chamber recital in Glenn Korff School of Music facilities, whether that recital is for degree credit or not, must follow certain rules and regulations. Off-campus recitals by School of Music students may be bound by certain stipulations as well.

Enrollment
Students must be concurrently enrolled in major applied lessons during the semester in which they give a degree recital. Non-degree recitals do not require enrollment, unless for some reason the student wishes to have the recital on their transcript.

Recital Course Numbers
MM and DMA students use the course number MUSR 98-Grad Recital (and for additional recitals, under some circumstances, MUSR 91A and MUSR 91B) for zero-credit degree recitals.
DMA students use MUSR 998 (1-3 credits) for a degree recital (including the lecture recital), if it is to be for credit, up to a maximum of 12 credits in the program of study.

Recital Sign-Up
Students doing a degree recital must sign up and register the date whether or not the recital will be on campus.
For fall-semester recitals, students and faculty are provided at the very beginning of the semester with a list of possible recital dates in either Kimball Recital Hall or Westbrook Recital Hall (WMB rm 119), and recital sign-up is scheduled for Week 3.
For spring-semester recitals, a list of possible dates is posted a few weeks before the end of the semester, and sign-up begins in Week 15 (the last week of classes) and run through the end of finals week.
Priority in scheduling goes to graduate students over undergraduates, and to degree recitals over non-degree recitals.

Sign-up itself unfolds over three days:
On the first day of recital sign up, graduate students may sign up for a recital for degree credit only. Graduate students must bring a "Graduate Recital Approval" form that has all the necessary signatures.
On the second day of recital sign up, undergraduate students may sign up for a recital for degree credit only.
On the third day of recital sign up, any student may sign up for a non-degree credit recital.

On the appropriate sign-up day, students come to the Facilities Manager in WMB rm 119.1 with the date and time they wish to reserve. He prints out a contract with that information, takes their recital fee and gives them a packet of recital information. To confirm the recital and hold the date, students must return a signed contract to the Facilities Manager by the due date specified on the contract. The packet contains a variety of essential information, including deadlines for the manufacture and formatting of programs.

DEADLINES FOR ALL DMA DEGREE RECITALS

 TWO WEEKS PRIOR TO RECITAL

Students must submit recital program data to the Glenn Korff School of Music office two weeks prior to the recital (see Recital Programs).  Further, students also must submit the Supervisory Committee Recital Checklist to the Graduate Secretary two weeks before the scheduled degree recital. Failure to do so may result in cancellation of the recital.

Substitutions in supervisory committees for degree recitals are approved by the chair of that committee; any changes, even temporary, must be recorded with the Graduate Secretary. If at all possible, a necessary substitution must be determined two weeks prior to the recital.

NOTE: THE STUDENT IS RESPONSIBLE FOR OBTAINING A FACULTY MEMBER TO SUBSTITUTE FOR ANY MEMBER OF THE SUPERVISORY COMMITTEE WHO CANNOT ATTEND THE DEGREE RECITAL. ADDITIONALLY, IT IS THE RESPONSIBILITY OF THE STUDENT TO COMMUNICATE TO EACH MEMBER OF THE SUPERVISORY COMMITTEE ANY CHANGES OF AGREED TIME OR DATE OF THE RECITAL.

ONE WEEK PRIOR TO RECITAL

Remind the supervisory committee members of the recital date. Further, should unforeseen circumstances call for a last-minute committee substitution, it is still the student who is responsible for finding a substitute for a committee member who is not able to attend. If a substitute is necessary, the Graduate Secretary must be informed of the substitution.

 LECTURE RECITAL TECHNOLOGY INFORMATION

DMA students giving a Lecture Recital should contact the Technology Coordinator, David Bagby (113 Woods Art Building), well in advance of the date of the recital regarding information and training on the presentation equipment in Westbrook 119.


PIANO ACCOMPANIST POLICY FOR DMA STUDIO LESSONS, JURIES, AND DEGREE RECITALS

In order to provide a positive studio and performance environment for students, the Glenn Korff School of Music employs staff accompanists, graduate teaching assistants, and pianists registered in MUDC/MUCO 440/840 (A and/or B) to support applied studio lessons, semester juries, and departmental recitals as much as possible.

Assignment Procedure

All faculty members receive an Accompanist Request Form for each applied major at the outset of each semester. The request form requires providing information such as the student's name, class standing, semester repertoire, and recital plans. Studio assignments are made based on a priority system that considers degree status, recital preparation, and the availability of accompanists. It is the responsibility of the instructor, the student, and the accompanist together to decide upon suitable lesson times for the semester.

Additional services beyond those able to be supported by the School in any given semester (in particular, services such as degree recitals and/or recital preparation) must be contracted directly by students with accompanists at their hourly rates. In order to avoid potential misunderstandings it is strongly recommended that students determine all costs with their accompanists prior to any engagement.