Appendix D: Examples of Supporting Documentation of Accomplishments

APPENDIX D:
Examples of Supporting Documentation of Accomplishments

Documentation begins with a current CV that should provide a complete professional summary and employment history. For reappointment or promotion, note that additional significant and relevant information may be introduced as supportive evidence only if it has already been referenced in the candidate’s CV and statement. Moreover, explanatory and justificatory statements are encouraged for those instances where activities might well be included in more than one category of professional activity (e.g., in the case of an activity that could be seen as both teaching and also service-related, or both creative and service-related).

The following examples of supportive evidence for teaching, research/creative activity, and service have been drawn from a wide variety of sources, including documentation created by the GKSOM faculty and Executive Committee, the By-Laws of the Hixson-Lied College of Fine and Performing Arts, and the UNL Office of the Executive Vice-Chancellor and Chief Academic Officer. They are meant to be a representative listing, without claiming to be prescriptive or all-inclusive. In some cases (e.g., the length of syllabi and the length of the analysis of student evaluations for one course), rules that have been adopted by the GKSOM to constrain the length of the Faculty Evaluation Portfolio (FEP) are mentioned for reference.

A. Teaching

1. Provide a list of courses currently taught, and a list of all courses ever taught at UNL.
   1. Include individual guided research, independent study, and reading courses.
   2. For studio courses, provide size of performance studio, breakdown of numbers into graduate students and undergraduates, students by year, students by degree program; numbers admitted versus numbers graduated; analysis of retention.
   3. For ensembles, provide size ensemble(s), breakdown of numbers into graduate students and undergraduates, non-music-degree students, students by year, students by degree program, students by performance area; balance of performance areas; analysis of strengths and weaknesses in sections; analysis of stability and retention.
   4. Provide description and accounting of chamber music coaching.
   5. The Ad-Hoc Committee on Promotion and Tenure of the GKSOM has recommended that all promotion and tenure files contain documentation on the peer-review of teaching.
2. Recruiting and retaining students.
   Complementary requisites of a satisfactory and nurturing environment for teachers and students within the GKSOM are the development and maintenance of studios, ensembles, and classrooms with sufficient vitality and enrollment to support the performance and academic programs of the GKSOM. It is the responsibility of the faculty to attract and retain undergraduate music majors and graduate students. Toward that end, music faculty are encouraged to show evidence of developing and supporting recruitment and retention programs appropriate to their teaching area and GKSOM degree programs, which may include:
   1. Responding to student inquiries with a personal letter or telephone call.
   2. Developing opportunities to work with prospective students in high school programs. This should be done regularly in the immediate region and frequently in other locales.
   3. Regular contact with public school and private music instructors.
   4. Membership and participation in appropriate professional organizations (e.g., NMEA, NAfME, NATS, NSBA, etc.).
   5. Active involvement in the recruiting activities of the school such as at Audition Days and similar activities.
   6. Maintenance of a regularly scheduled audition time.
   7. Mentoring student groups.
   8. Negotiating an appropriate studio size with the Director.
3. Syllabi (limited to a ten-page maximum per course when submitted as part of the yearly FEP; otherwise, submit the complete syllabus made available to students). The syllabus for each course is required to use the official GKSOM format.
   1. The syllabus must include the following faculty information:
      • name
      • office address
      • UNL phone number
      • e-mail address
      • office hours
      • GTA name(s) and contact information
   2. and the syllabus must have the following course information:
      • title of course (must match the current Bulletin) course number and section number
      • class time credit hours
      • catalog description (must match the current Bulletin) prerequisites (must match the current Bulletin)
      • required texts, scores, anthologies, recordings, and references course goals and objectives
      • content outline with schedule of topics and events instructional activities, including student presentations assignments, including essays and term papers
      • field and clinical experience
      • grading procedures (including quizzes and exams, essays and term papers, presentations, and weightings for the various requirements)
      • attendance policy
      • continuity statement 
   3. and for music and dance ensembles, the syllabus should list
      • special rehearsals (there should be very few of these)
      • performances (including dates, call times, dress codes, and tour dates with student costs)
      • provision for students to sign and submit copyright release forms

Note: At the start of every semester, current syllabi are to be mounted on Canvas and also sent to the office of the director as a .PDF file.

4. Student Evaluations. An analysis of student evaluations of teaching, including, where possible, an interpretation of the quantitative data (numerical ranking as compared to others in the department); summary of student comments.
   
   Evaluations of courses that do not contribute to the faculty member's teaching load credit are not required, for example, dissertation hours, continuing education courses, individual research, or individual reading courses.
   
   Student evaluations are part of the materials submitted for annual review, promotion, and tenure. It is important for each faculty member to maintain a careful file of all student evaluations. Before evaluations are submitted for any review process, however, the faculty member has the right to submit any explanations or information desired. This appended information will be included in the review material. Once the evaluations have been used for the annual evaluation of a faculty member and/or tenure and promotion procedures, those evaluations become the property of the individual faculty member.
   1. An analysis and interpretation of the student evaluations for each course for the immediately prior academic year and implications for future teaching. (For Reappointment and FEP files, please keep to a maximum of 1/2 page per course).
   2. Evaluation Summaries (cover sheets), analyses, and interpretations from past years (beginning January 1998 and ending with the move to web-based evaluations).
   3. Student Evaluations for all years (beginning January 1998 and ending with the move to web-based evaluations); web-based evaluative summaries for all subsequent years up to the present.
   4. With the assistance of the Associate Director in providing necessary statistics, a tabular course-by-course and semester-by-semester comparison of individual Instructor Ratings with the average Area or Departmental rating
5. Academic advising of undergraduates on a formal basis as assigned by the Director: numbers of advisees, their degree programs, their year in the program, materials prepared for them, presentations made to them collectively, record of individual meetings, special issues dealt with (e.g., academic probation, study abroad, Honors Program requirements, preparation for nationally competitive scholarships and fellowships, preparation for graduate study, etc.)
6. Additional supportive materials representing student input (not including course evaluations) may include:
   1. Evidence of student learning, achievement, and exceptional performance or outcome.
   2. Additional information from students in respect to student-teacher interactions or effectiveness of advising or mentoring, etc., e.g., interview data after course completion, exit interviews, student write-ups in a course-review booklet, honors from students (e.g., student-initiated nomination for an award for good teaching), written comments from a student, a student’s parent, a student committee or honor society, etc.
7. Additional supportive materials in regard to instruction:
   Student evaluations can and do evaluate only one aspect of the instructional role—the teaching situation in which teachers and students face or interact with one another. Student evaluations do not fully measure such other aspects of the instructional role as the faculty member's degree of familiarity with new developments in the field, course and curriculum development, preparation of instructional materials and/or laboratory activities, and the formulation and grading of tests evaluating student progress. Documentation for these other aspects of the instructional role (not including evidence of more formal activity in professional development in the area of pedagogy, for which see no. 8 immediately below) may include:
   1. Course portfolio for one or more courses, that would include reading lists and library reserve lists, homework assignments [including listening lists, problem sets, simulations, case studies, etc.], packets or the equivalent, handouts, study guides and review materials, descriptions of non-print materials created (audio- visual [slides and PowerPoint™ slides, video recordings, movies and other DVD products, etc.], computer software, etc.); examples of completed assignments; descriptions of student performances: e.g., class presentations, recitals, departmentals, etc.; description of activities in supervising students in the field; copies of tests and quizzes used and examples of teacher's feedback in the form of graded exams, jury reports, recital feedback, research papers; statement of evaluation criteria for student grades, grade distribution.
   2. Prose description and documentation of teaching methods.
   3. Video recordings of classroom teaching, one-on-one studio teaching, chamber ensemble coaching, rehearsing, conducting, etc., with written analysis of contents
8. Professional development with respect to teaching: i.e., broadly speaking, SOTL (Scholarship of Teaching and Learning) activities
   1. Curriculum and course development within an existing course, curriculum, or program
   2. Design of new courses, curricula, and programs
   3. Examples of new teaching techniques and innovation in instructional delivery, including web-based course delivery and distance teaching
   4. International activity as a teacher (e.g., Fulbright Fellowship, etc.)
   5. Record of additional education in pedagogy of subject area, or generally in respect to teaching
   6. Keeping current in issues of general teaching improvement: record of attendance at local, regional, national international meetings
   7. Keeping current in pedagogy of subject: record of attendance at regional, national, international meetings
   8. Keeping current in pedagogy of subject: record of lectures/performances and papers presented at meetings, colloquia delivered, published works including books, book chapters, and articles published in respected journals (preferably refereed)
   9. Record of self-initiated enquiries resulting in consultations, presentations, guest lectures, and workshops related to teaching
   10. Record of external invitations resulting in consultations, presentations, guest lectures, and workshops related to teaching
   11. Faculty development leaves and grants (with internal or external financial support) in pedagogy of subject area; proposals submitted, proposals funded
   12. With appropriate justification, some work in the subject area of research/creative activity outside of pedagogy might be deemed appropriate, including:
       1. Record of additional education in subject area
       2. Keeping current in subject: record of attendance at local, regional, national, international meetings
       3. Keeping current in subject: record of lectures/performances, published works (see also documentation of research)
       4. Faculty development leaves and grants (with internal or external financial support) in subject area; proposals submitted, proposals funded
9. Additional teaching-related activities outside in the classroom, studio, or rehearsal hall:
   1. Record of guidance of research, independent study, and reading courses, honors theses, and UCARE projects, with description of outcomes.
   2. Graduate instruction, advising, and mentoring.
   3. Experience as chair or co-chair or member of a Supervisory Committee for a masters or doctoral student; member of a thesis reading committee; dissertation adviser (first reader). Provide a description of precise role and responsibilities.
   4. Evidence of faculty member's role as a mentor to undergraduates, sustaining contact with students, nurturing careers and the intellectual and musical growth of individuals, and earning the respect of students he or she has never taught (and being sought out by same).
   5. Especially significant contribution as a presenter to undergraduate and graduate convocations and departmentals.
   6. Record of service on appropriate UNL and professional standing committees and special committees and Teaching Council (e.g., to examine grading policies, admissions standards, undergraduate and graduate curriculum, etc.) (see also faculty member's statement on service).
   7. Description of activities in a field setting (other than supervising students).
   8. Evidence of faculty member's contribution to morale.
10. Peer assessment: internal and external peer assessment of course design, instructional materials and examinations, level of student performance, student retention, and effectiveness of recruitment strategies. Note: the Ad-Hoc Committee on Promotion and Tenure of the GKSOM has recommended that all promotion and tenure files contain documentation on the peer-review of teaching.
11. Teaching awards and recognition: institutional and professional; from students, parents, peers; departmental, college-wide, campus-wide, university-wide, national and international; other evidence of impact on the teaching of the discipline.

B. Professional scholarly and creative activity

Required is evidence for an on-going agenda of professional-level scholarly and creative activity, with a sense of where the career has been and where it is moving. Supportive materials for activities may include many kinds of evidence; the following is not meant to be either prescriptive or all-inclusive. Justification or explanation is always welcome where evidence might arguably fall in more than one category of effort (i.e., if it might also fit under teaching or service).

1. Performance (other than conducting)
   1. Auditioned/Invited recitals/performances, including solo, collaborative, and ensemble appearances of music or dance at local, regional, national, and international venues, including conventions and conferences; the significance of the venue should be explained, if necessary (e.g., to help evaluate the prestige of a regional or national convention)
   2. Other recitals/performances not specifically earned through audition/invitation (e.g., faculty recital on campus; personally arranged performance elsewhere)
   3. Innovative performances such as commissions and premiere performances, and distinguish first performance of newly-prepared material from repeat performances of previously prepared material
   4. Sound and visual recordings available for private or for national or international distribution
   5. Scholarship of performance:
      • Scholarly books and editions accepted for publication
      • scholarly journal articles, book chapters, reviews, encyclopedia entries (identify as invited or refereed; explain the prestige of the publication venue)
      • presentations/lectures (identify as invited or refereed) at local, regional, national or international venues
   6. Reviews of performances, recordings, videos and DVDs in appropriate media, with explanation of the significance of the venue of the review
   7. Grant and contract activity to support performing and recording
   8. Awards, prizes, and recognition: departmental, college-wide, campus-wide, university-wide, national and international
       
2. Conducting (outside of prescribed UNL teaching duties)
   1. Innovative performances with UNL ensemble of compositions or arrangements, such as commissions and premiere performances, for which a case can be made that they represent creative activity
   2. Other performances, undertaken as part of UNL teaching duties in ensemble direction, for which a case can be made that they represent creative activity
   3. Success in competitive auditions with UNL ensemble participation
   4. Outside conducting opportunities (for which a case needs to be made, based on the ensemble and the repertoire involved, that they are not only professional service)
   5. Recordings, reviewed in appropriate media
   6. Publications relating to conducting, including books and articles: scholarly books accepted for publication; scholarly, refereed publication in national journals (or state journals with national prestige); research projects in performance and/or performance practices; published research in the areas of method books, manuals, teaching editions, transcriptions, books, articles, monographs, reviews
   7. Grant and contract activity
   8. Reviews of conducting
   9. Awards, prizes, honors, and recognition: departmental, college-wide, campus-wide, university-wide, national and international
       
3. Composition and choreography
   1. External commissions by individuals or ensembles of local, regional, national or international prominence; finished works not created in response to an external commission; arrangements or adaptations of pre-existing works
   2. Performances of compositions (including commissions), including both premieres of new works and continuing record of performances of past compositions; identify significance of venues, including regional or national conventions
   3. Recordings of original compositions available for national or international distribution
   4. Dance choreography
   5. Commercially published original compositions, and arrangements (note if a nationally recognized publishing house)
   6. Scholarly publications related directly to your personal creative activity, including books and articles in scholarly, refereed publications accepted for publication in national journals (or state journals with national prestige); scholarly books in publication; books or journals edited; refereed publications in proceedings, conferences, and symposia; scholarly abstracts; invited review articles; presentations; textbooks related to graduate education; book chapters, published instructional materials; or published professional reports
   7. Grant and contract activity
   8. Reviews
   9. Residencies and other awards, prizes, and recognition: departmental, college-wide, campus-wide, university-wide, regional, national, and international
       
4. Academic Scholarship
   Note: For some citations, it may be helpful to furnish evaluators a brief description providing names of editors, editorial board, and other useful information in order to better gauge the significance of the publication venue.
   1. scholarly books and editions accepted for publication; scholarly, refereed publications in international or national journals (or state journals with national prestige); invited publications in prestigious venues
   2. other published materials: books or journals edited; refereed publications in proceedings, conferences, and symposia; invited review articles; textbooks related to undergraduate or graduate education; book chapters, published instructional materials, or published professional reports
   3. The presentation of lectures and papers (identify as new or as repeat of previously prepared material; you may wish to identify the most significant venues)
   4. Grant and contract activity; proposals submitted, proposals funded
   5. Reviews of your scholarship
   6. Citations of your scholarship
   7. Awards, prizes, and recognition: departmental, college-wide, campus-wide, university-wide, regional, national, and international
       

C. Service

1. List of institutional service to the department, college, and university, with dates, including roles in administration and in faculty governance
2. List of service to professional constituencies, organizations, and publications in some leadership capacity, with dates, on the local, state, regional, national, and international level.
3. Other activities, including
   1. Master classes
   2. Clinics (identify as new or as repeat of previously prepared material)
   3. Workshops (identify as new or as repeat of previously prepared material)
   4. Adjudication
   5. Music, record, and scholarly reviews (an extensive review may qualify under research)
   6. Journal or Newsletter editor
   7. Newsletter columnist
   8. Performances for University functions
   9. Accompanying in the community
   10. Church organist or choir director
   11. Paid performance participation in professional ensembles such as the Lincoln or the Omaha Symphony Orchestra. (Particularly meritorious participation as a soloist may be counted as an aspect of creative activity.)
   12. Departmental examinations (regular and customary participation in departmentals is a requirement of studio teaching)
   13. Faculty advisor to student professional organizations and Panhellenic groups
   14. Mentor to new faculty
   15. External arts boards
   16. Program notes for community-based performance
4. Land grant activities and related outreach activities not accounted for above; other community service related to assignment
5. Scholarship related to service, outreach, and land grant activities
6. Awards, prizes, and recognition: departmental, college-wide, campus-wide, university-wide, regional, national, and international