EDUCATION: - Bennett College



Dr. Walter Bragg, DMAProfessional Portfolio2019Table of contentsTitle Cover Letter Curriculum VitaeTranscriptsEducational PhilosophyLetters of Recommendation SyllabusAbstractRecitalCover Letter106 Fleishhacker Place, Mooresville, NC 28117wbragg2@ 803.239.7050August 15, 2019 Search CommitteeTop of FormBottom of FormDear of the Search Committee: I would like to offer my candidature in the music position advertised Music Faculty position. Being a passionate music lover with formal degrees in music, including a terminal degree in Piano Performance, I promise you the utmost dedication towards the university and its students.I have over 22 years of higher education and church position (Minister of Music, Director of Music, Pianist, Accompanist and other positions), public school ( teacher of music), school, college and universities (Teacher, Lecturer, Instructor and Assistant Professor of Music) experience in the field of music instruction including Piano Performance, studio instruction, group instruction, literature and pedagogy. Also, I have taught Music Appreciation, Music Theory, accompanied the School/ College and University Choir, served as Collaborative pianist for vocal and instrumental students (as well as faculty). Furthermore, I have accompanied instrumental ensembles (Jazz Quartets & Bands), and accompanied vocalists with respect to Opera, Musical Theatre, Gospel (traditional/contemporary) and other genres. For each of my previous employers, I served as coordinator for the piano area. I have several former students that were competition finalists plus additional former students currently working in the field of music. If you have any questions, please feel free to contact me via my cell number (803) 239.7050. Thank you in advance for your consideration of my application.Sincerely,Dr. Walter Bragg, DMADr. Walter Bragg, DMA.__________________________________________PERSONAL INFORMATION: 106 Fleishhacker, Mooresville NC 28117803.239.7050wbragg2@EDUCATION:Doctorate of Musical Arts, Piano, August 2004University of Alabama, Tuscaloosa, ALMaster of Music, Piano, May 1988 Southern Illinois University, Carbendelle, ILBachelor of Arts, Piano August 1986Alabama State University, Montgomery, AL------------------------------------------------------------------------------------------------------------FELLOWSHIPS/ TRAINING: Joint Faculty Fellows ProgramUniversity of Alabama and Alabama A&M UniversityAug 1998 to May 2000Graduate AssistantUniversity of Alabama, School of Music,Aug 2000 to May 2001Instruction from Dr. George Walker, Pulitzer Prize WinnerMar 2006Focus on Piano Literature: The Russian RomanticsUniversity of North Carolina, Greensboro, June 2006------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------RESEARCH:Analyses of George Theophilus Walker’s WorksExamination of processes involved in instructing students majoring in performance who have very little or no formal piano instructionTEACHING: Applied Piano, Piano Pedagogy, Music History, Music Theory, Music Appreciation, University Choir, and Marching Band ArrangementsPERFORMANCES:Solo, chamber ensembles, jazz ensembles, ensembles in the vernacular, church musician, musical directorSKILLS:Excellent sight reading abilityVersatility in stylesArrangingTEACHING EXPERIENCE:August 2018- Present Assistant Professor of Music, Bennett College, Greensboro, North CarolinaAugust 2017- August 2018 Music Instructor (Adjunct), Catawba Valley Community College. Hickory , North Carolina. August, 2013-2016 Visiting Assistant Professor of Music, Johnson C. Smith University, Charlotte, North Carolina- Applied Piano (Individual Lessons), Keyboard To Music Media Students. Intro. to Music Literature, and Accompanying- University and Choir & Vocalists. August, 2012-2013 Assistant Professor of Music, Stillman College, Tuscaloosa, AL Applied Piano, Music Theory I, Keyboard, Music Appreciation, AccompanyingAugust, 2008-May, 2012 Assistant Professor of Music, Alabama State University, Montgomery, Alabama- Applied Piano, Music Theory I, Fundamentals, Keyboard, Music Appreciation, Accompanying August, 2005-May, 2008 Assistant Professor of Music, Benedict College, Columbia, SCTaught Applied Piano, Music Theory, Music History, Keyboard/Ear Training, Music Appreciation, Piano Literature August, 1994-August 2005Assistant Professor of Music, Alabama A&M University, Normal, ALApplied Piano, Music Appreciation, Piano Pedagogy, and Advanced Piano Technique August, 1988-May 1994Piano Instructor, Booker T. Washington Magnet Arts School, Montgomery, Alabama-Applied Piano, Music Theory, and Music History.June ,1992-May, 1993Piano Instructor, Alabama State University (Adjunct) Montgomery, Alabama. Applied Piano.August , 1988-May, 1994 Teacher of Music, Montgomery Public School System, Montgomery, Alabama. COMMUNITY AND CHURCH EXPERIENCES:August 2017- Present Present Peace United Church of Christ in Hickory, North Carolina Duties- Director of Music January 2016-2017 St. Luke Missionary Baptist Church, North Carolina Duties- Minister of Music and Music Director January, 2014-2016 The Greater Providence Baptist Church in Charlotte, North Carolina. Duties: Pianist/Keyboardist & teach parts to Church and Youth Choirs. June, 2014-2016 The Fellowship Place Presbyterian Church in Charlotte, North Carolina. Duties: Keyboardist, Teach Parts, and Direct-PRAISE TEAM. (The music is basically non-denominational). June, 2012-2013 Bethlehem C.M.E. Church in Prattville, Alabama, Duties: Pianist, Taught Parts, and Directed all choirs.January, 2009-2011 First Missionary Baptist Church in Montgomery Alabama. Duties: Pianist Allen Organist, Taught Vocal Parts, and Directed all choirs.August, 1994-1998; June, 2002-03; Summer 2010 Pianist, Keyboardist, Hammond Organist, Organist (Rogers)-for all choirs (Young Adult, Youth, Sanctuary, and Male Chorus) in a First Missionary Baptist Church, Huntsville, Alabama. Rev. Dr. Julius Scruggs We did Contemporary Gospel, Traditional Gospel, Hymns (as written and improvised), Spirituals, and Anthems. February, 1999-August, 2002 Arranged, Directed, and Taught Parts to the Youth Choir. At Sardis Baptist Church in Birmingham, Alabama, (at that time…congregation of 5,000). Also, I was Pianist, Keyboardist, Hammond Organist for the other choirs as well. We did Contemporary Gospel, Traditional Gospel, Hymns (as written and improvised), Spirituals, and Anthems. August, 1998- January, 1999 Pianist, Director, and Taught Parts at Bailey Tabernacle C.M.E. Church in Tuscaloosa, Alabama. January, 1991- June, 1994 Pianist/ Allen Organist of First Missionary Baptist Church in Montgomery, Alabama. August, 1988- January, 1991 Pianist and Pipe Organist at St. John A.M. E. Church Montgomery,Alabama. May 1987- May 1988 Pianist, Director, and Taught Parts at Liberty Street Baptist/Pentecostal, Church in Murphysboro, Illinois (while I was a graduate student at Southern Illinois University). January, 1984-August, 1986 Pianist and Organist at the Historic Dexter-King Baptist Church in Montgomery, Alabama. At that time, the Minister of Music did not perform any gospel. Anthems, Hymns, Spirituals, and Oratorios were performed in the worship services. PERFORMANCES:.March 4, 2014 Solo Piano Recital-Works by Beethoven, Aaron Copland, Earth, Wind & Fire, Whitney Houston, Duke Ellington, and Frederic Chopin.August, 2012- 2013 Pianist: Stillman College Choir, Black Composers Recital, and Stillman CollegeMay, 2013 Fundraiser and Tribute to R&B Music from the 70’s and 80’s; Alabama State University.March, 2013 Jazz Pianist: Bill Long Quintet-Stillman CollegeAugust, 2011 Faculty Gala Recital, Alabama State University.February, 2011 Stevie Wonder Tribute (Piano), Black History Program featuring Faculty of College of Visual and Performing Arts, Alabama State University.February, 2011 Solo Piano Recital, Alabama State UniversityNovember, 2010 Collaboration with Professor Brian Reeves [Trumpet], ASU faculty. We performed Telemann, Ensco, Sachse, Turrin, Chaynes and Arban at the University of Alabama & Alabama State University.September, 2010 Faculty Gala Recital, Alabama State UniversityOctober, 2009 Solo Piano Recital, Alabama State UniversityOctober, 2009 Faculty Gala Recital, Alabama State UniversitySeptember 2009 Faculty Recital, Alabama State UniversityApril, 2008 Recital and Lecture, Benedict CollegeDecember, 2007 Guest Performer with the West Mecklenburg High School Choir in Charlotte, North CarolinaFebruary, 2007 Recital and Lecture with the Benedict College Faculty Jazz EnsembleFebruary, 2007 Faculty Collaboration with Professor Angela Blalock (Benedict College). Performed works by Handel, Mozart, Schubert, Faure, Mozart, and Puccini. November, 2007 Musical Director, vocal coach, pianist, for the musical Dream girls at Benedict CollegeMarch, 2006 Faculty Collaboration with Pamela Dillard (Spelman College). Performed works by Dr. George Walker at Benedict College. Dr. Walker was the guest lecturer following the performance.January, 2006 Faculty Recital, Benedict College.September, 2006 Faculty Recital and Lecture, Benedict College.May, 2002 DMA Recital, University of Alabama, Tuscaloosa, ALMarch, 2002 Pianist at Work, Solo Performance, University of Alabama, Tuscaloosa, Alabama Televised by Alabama Public TelevisionAugust 2001 Yolanda King: Theatrical Drama, University of Alabama Accompanied Gospel Recording Artist Vanessa Bell Armstrong.May, 2001 DMA Recital, University of Alabama, Tuscaloosa, ALFebruary, 2001 Solo Piano Recital, Sardis Baptist Church, Birmingham, AL May, 20001, Alabama State University, Alumni Choir, Accompanist.December, 2000 Pianist at Work, Solo Performance, University of Alabama, Tuscaloosa,AL. Televised by Alabama Public TelevisionDecember, 1999 Alabama State University, Alumni Choir, AccompanistDecember, 1999 Pianist at Work, Solo Performance, University of Alabama, Tuscaloosa, AL. Televised by Alabama Public TelevisionDecember, 1999 DMA Recital, University of Alabama, Tuscaloosa, ALNovember,1999 Solo Piano Recital, Alabama State University, Montgomery, ALAlabama A&M University, Huntsville, ALNovember ,1999 Guest Lecturer and Performance, Booker T. Washington Magnet Arts Center,Montgomery, AL 1992-1997 Solo Piano Recitals, Alabama A&M University, Huntsville, AL; Montgomery Museum of Fine Arts, Montgomery, AL; Alabama State University, Montgomery, ALACCOMPANYING EXPERIENCE:June, 2018 Pianist, Choir Competition. Carowinds.April, 2018 Pianist. Just Mercy Presentation. Interdisciplinary Presentation, Catawba Valley Community College.December 2017Pianist. Department of Humanities Week and Celebration. Catawba Valley Community College.August, 2017- Present Collaborative Pianist for applied voice students, Catawba Valley Community College.August, 2013- 2015 Pianist, Johnson C. Smith University Choir January, 2014 Pianist, Keyboardist, and Organist-The Greater Providence Baptist Church Charlotte, North Carolina. [Rev. Dr. Fred Gipson]!August ,2012- May, 2013 Pianist, Stillman College ChoirDecember, 2010 Pianist, Alabama State University Concert Choir, Christmas Concert(Performed Gloria by Francis Poulenc). Sight-read at the performance Mozart’s Jubilate Deo and Jester Hairston’s Mary’s Little Boy Chile. February, 2010 Pianist, Alabama State University Concert Choir, Founders Day CelebrationDecember, 2007 Guest Pianist, South Carolina State University Concert Choir, Messiah, Savannah, GADecember, 2007 Guest Pianist, South Carolina State University Concert Choir,Messiah and Vivaldi’s Gloria. Orangeburg, SCApril, 2007 Guest Pianist, The UNCF College Choir performed in Columbia, SC for a fund raising benefit.February, 2007 Guest Pianist, South Carolina State University Concert Choir, Orangeburg, SC; sight read at the performance for Founder’s DayDecember 2006 Guest Pianist, South Carolina State University Concert Choir, Orangeburg, SC; sight read at the performance for Commencement2002-2005 and 1994-1998 Pianist, Alabama A&M University, Normal, AL, University Choir and Senior RecitalsAugust, 2001 Pianist, Collaboration with Yolanda King for her one-act plays. Performance with gospel recording artist Vanessa Bell Armstrong at the University of Alabama. 1994-1998 Pianist, Alabama A&M University, Normal, AL, University Choir and Senior RecitalsApril, 1993 Pianist, the opera Gallantry; as performed by the vocalists of Alabama State University1983-2002 Pianist and/or Organist for various church choirs including:Dexter Avenue-King Memorial Baptist Church, Montgomery, AL; Liberty Street Baptist Church, Murphysboro, IL; St. John A.M.E. Church, Montgomery, AL; First Baptist Church, Montgomery, AL; First Baptist Church, Huntsville, AL [Blue Springs Road]; Bailey Tabernacle Church, Tuscaloosa, AL; Sardis Baptist Church, Birmingham, AL.REFERENCES:Dr. Cordelia AndersonAssistant Professor- VoiceAlabama State University915 South Jackson StreetMontgomery, AL 36104334.229.4531drcordelianderson@alasu.eduDr. Yew-Yong ChongAssociate ProfessorUniversity Technology MARA5 Jalan Anggerik Doritis 31/164Shah Alam, 4046060123803522 ( international place)Piano_cello_conducting@Dr. Wayne BucknorAssistant Professor- PianoOakwood University7000 Adventist Blvd. NWHuntsville, AL 35896256.726.7368wbucknor@oakwood.eduDr. Gregory Jackson, DMAProfessor of Percussive StudiesAlabama State UniversityPhone: 931-624-5406Dr. Linda Cummins, Ph.D.School of MusicUniversity of AlabamaTuscaloosa, Al. 35487205.348.1465lcummins@music.ua.eduDr. Mary Hellmon, DMAMusic Department ChairChowan UniversityMurfreesboro, NC252.398.6201hellmme@chowan.eduDr. Mirelly Buitrago-GonzálezInstructor of Spanish and SociologyCatawba Valley Community CollegeHickory, NC256.603.0932mbuitrago598@cvcc.eduRev. Dr. Julius Scruggs, PastorFirst Baptist Church-Blue Springs RoadHuntsville, AL.Home: 256.852.3263 Cell: 256.852.4318VIDEO REFERENCES:Dr. Walter Bragg-1. Walter Bragg-2. Walter Bragg-3. Walter Bragg-4. Walter Bragg-5. Walter Bragg-6. Walter Bragg-7. Walter Bragg-8. Walter Bragg-9 of Musical Arts, Piano, August 2004 University of Alabama, Tuscaloosa, ALMaster of Music, Piano, May 1988 Southern Illinois University, Carbondale, ILBachelor of Arts, Piano August 1986 Alabama State University, Montgomery, ALEducational PhilosophyAs a teacher, my goal is to perpetuate knowledge and exert learning. More specifically, as a pianist, I introduce students to a variety of classical literature and ask them to articulate their reactions. Not just presenting an extensive repertoire but I also teach independent critical listening and thinking. To this end, I seek a balance in my course between lecture and research. In the belief that good teaching depends upon intellectual exchange, I encourage students to engage with the music, with me, and with each other.My approach to student assessment reflects the following: First, the student is expected to master a body of knowledge by demonstrating skills in piano repertoire class, performance class, piano jury, and junior/senior recitals; a familiarity with composers, pieces, terms, and concepts studied in the course. Second, the student is given the opportunity to reflect upon the potential at greater leisure by doing research that emphasizes the skills of critical thinking and listening acquired during the semester. In addition, assistance will be given to students to meet expectations by providing office hours and additional applied lessons.Every student, regardless of background, can improve his or her ability to listen to and comprehend a piece of music. In conducting either an applied lesson or piano repertoire class, I am aware of students’ different experiences in hopes of developing their strengths while improving their weaknesses. As a result, I have enriched a student’s ability to think about, discuss, and listen to music with a new awareness of its artistic beauty and humanistic significance.Letters of RecommendationMr. Herman Jones Director of BandsAssistant Professor of Woodwind StudiesBenedict CollegePhone: 678.873.6729Email: hermanjonesjr@sc.Dr. Gregory Jackson, DMA Professor of Percussive Studies Alabama State University Phone: 931-624-5406Email: djackson@alasu.eduDr. Mirelly Buitrago-González, MA.MS.Ed.D.Spanish and Sociology InstructorCatawba Valley Community CollegePhone: 256-603-0932Email: mbuitrago598@cvcc.eduMay 2, 2019DirectorHuman ResourcesDear Director of Human Resources:I am writing this letter to give my highest possible recommendation for Dr. Walter Bragg. I know Dr. Bragg through his work at Alabama State University and at The University of Alabama. Dr. Bragg and I met while he was working on his Doctorate and I began work on my Master of Music degree. I was able to see him perform multiple times while we were students and get help from him with music theory. He was one of the premiere pianists while at UA and performed at the highest level. I was quite impressed at his motivation and independence.While at Alabama State University, more students were able to achieve greater success in their course work during and after having Dr. Bragg as a professor. Countless times I observed him giving students as many opportunities to learn all they could from the class if they desired. Many times he gave students extra lessons and would provide student multiple opportunities to succeed if they showed sincerity in wanting to improve. Even with a busy class load Dr. Bragg would accompany students on a weekly basis for performance class and senior recitals, as well as faculty recitals. This type of work ethic shows the passion Dr. Bragg has for his profession and art. On a personal note, while I was a composition student many times I would ask a question about a voicing, just expecting him to play the measure, but instead he would oftentimes play the entire piece for me. I was amazed by the level of sight-reading he displayed as the music was oftentimes terribly difficult. But the time he took out of his schedule to do that is an example of the time Dr. Bragg shares with everyone. I cannot think of an instance where he did not have time to help me, any other professor, or student. This is a reason why multiple students place as finalists and win in prestigious competitions. Dr. Bragg himself has been a winner of many awards and competitions, too numerous to list here but can be seen in his resume. I was especially taken by Dr. Bragg’s creative mind and independent work ethic. This illustrates his high level of motivation.In summary, Dr. Bragg is clearly the best colleague I have worked with in the last 10 years. Even though I wish we were still teaching at the same institution, I think he would be an outstanding asset to your program. I give him my highest recommendation.Sincerely,3429011176000106616593345008502654064000-710565-42926000-710565-42926000-710565-4292600064071531115001841509144000Gregory J. Jackson, D.M.A.Associate Professor of PercussionAlabama State Universityphone: 931-624-5406 7468870-5524500email: gjacksonmusic@website: SyllabusLIBERAL ARTS – MUSIC DEPARTMENTACADEMIC YEAR – 2016MUS 336-01 – MUSIC THEORY THREEDr. Walter Bragg - ProfessorLiberal Arts/Music DepartmentClass Meeting Times – M –W-F 1:00 pm – 1:50 amOFFICE HOURS:Monday, 11:00 am/ 2:00 pm2 hrs.Tuesday and Thursday, 10:00 am / 3:00 pm4 hrs.Wednesday/Friday 10:00am / 2:00 pm 4 hrs. GOALS:Materials from Theory Book – Cadences, Phrases, etc.Workbook Assignments; Clapping Exercises; Dictation Exercises3-Ring Binder with filler paper and music staff paper. THIS IS A MUST!PREREQUISITES: MUS 133 – Music Theory I; MUS 134 – Music Theory IIHolistic Quality Enhancement Plan (QEP) Statement:During the academic years 2011-2016, College will implement the SACS-Quality Enhancement Plan (QEP) that begins with Fall 2011 incoming freshmen and continues through their graduation in May 2016. The purpose of the QEP is to improve student literacy by expanding vocabulary, increasing fluency, and improving reading comprehension. To do this, we will collect information regarding reading and learning activities in this course. Attendance is critical to make the activities work. The success of the QEP is closely tied to the accreditation of the College, which affects the respectability of your degree; the Department fully endorse the QEP and includes the following learning strategies in this class:Applying vocabulary strategies to infer meaning and use new words;Utilizing comprehension strategies to recognize main ideas and support details in text;Demonstrating critical reading skills to interpret and appropriately apply what is read in teacher-education classes;Demonstrating strategies to self-regulate and self-monitor the construction of meaning based on perceived connections among thought-patterns, graphics, information, and structure in text.BRIEF DESCRIPTION:This course begins with the rudiments of music and leads the student through the introduction of four-part harmony. Content includes Major and minor scales, key signatures, notation, triads, seventh chords and inversions, and rhythmic concepts. Students will also take dictation of simple exercises and through the process of drills, they will experience ear training. Beginning composition skills are also introduced.As a required program core course, this course is necessary because the acquired skills will enable the student to function as a practical musician - being able to study, analyze and compare music examples of standard harmony and compositional practices and begin his/her own experiences in musical composition.SPECIFIC COMPETENCIES: Upon the successful completion of this course, students will be able to: Know the twelve Major and minor scalesIdentify different key signaturesNotate music in the Treble and Bass ClefsAnalyze triads, seventh chords and their inversionsClap different rhythmic exercisesTake dictation of simple 4-measure exercisesExperience Ear Training with drills of intervals (2nd , 3rd , 5th, 6th, 7th etc.)Write simple 4-measure exercises and perform themEVALUATION and GRADING: Quizzes, tests, and blackboard participation will exhibit mastery of desired skills in areas cited above. The following is a breakdown on all of my examinations:SCHEDULE OF CLASS SESSIONS/TOPIC OUTLINE: Assignments must be completed before the class meets and the due date. Students are required to participate in class by answering questions, etc.)Assignment from Vice President for Academic Affairs –:All students are to read the following three books this semester: “The Outliers,” “Gifted Hands,” and “The Pact.” Copies of these books will be made available for students. See Dr. V.P. of Academic Affairs.Assignment for Music Theory III:Write a critical writing assignment paper of 750 words on “What I Expect to Accomplish this Semester in Theory II. Express your thoughts into a scholarly paper which must be prepared using a style manual (example, “MLA Style Manual or APA Style Manual, etc.) with all the proper margins, correct font, double-spaced, footnotes, bibliography, etc. (If you do not have a style manual, search the Internet for these particulars.) This paper is to be presented this month with a hard copy given to the Professor. Late papers will not be accepted. If you are going to be absent, drop off your paper before the last day of January. There is a grade attached to this scholarly paper.Course ScheduleJanuary 11, 13, 15Review-Chapters 10-11-12---Cadences, Phrases, etc. Non-Chords 1-2.January 18thMARTIN LUTHER KING HOLIDAYJanuary 20, 22Review-Chapters 10-11-12January 25, 27, 29 Review Chapters 10-11-12February 1, 3, 5Test, 1---Chapters 10-11-12February 8, 10, 12Chapters 13/14: Diatonic Seventh Chords (V7 and II 7)February 15, 17, 19 Test 2- Chapters 13/14February 22, 24, 26Chapters 16/17 Secondary Functions 1 & 2February 29; March 2,4Test 3-Chapters 16/17 March 7, 9, 11Chapter 18: ModulationsMarch 14,16, 18Test 4: Chapter 18-ModulationsMarch 21, 23, 25, 28SPRING BREAK & EASTER WEEKENDMarch 30 & April 1Chapters 21/22 Neopolitan & Aug. 6th ChordsApril 4,6,8Chapters 21/22 Neopolitan & Aug. 6th ChordsApril 11, 13,15Chapters 21/22 Neopolitan & Aug. 6th ChordsApril 18, 20, 22Exam 5 Neopolitan & Aug. 6th Chords.April 25, 27, 29Review for FinalMay 2,4,6Final ExamGRADING STANDARDS:GRADEDEFINITION(POINTS)QUALITY PTS.AExcellent90-1004BGood80-893CSatisfactory70-792DPoor60-691FFailurebelow 600ATTENDANCE POLICY:Ten points will be added to the final grade based on satisfactory attendance for the semester. A total of three excused absences will be allowed. Absences above the allowed number will result in ? point subtracted from the above mentioned ten points. “Make-up” and “late work” policy will be determined on a case-by-case basis. A tardiness of more than 10 minutes will be considered an absence.CROSS-CURRICULAR FUNDAMENTAL SKILLS: I see this course addressing the fundamental skills of mathematics, reading competency and fine arts appreciation. Mathematics will be reinforced by emphasizing the mathematical nature of music theory, such as the fact that individual pitches are formed by exact numbers of vibrations of a column of air per second and that the duration of a pitch and accompanying rests is reflected by the time signature in the beginning of a composition. Reading competency is exhibited by students being able to accurately read their textbooks, musical scales, chords, key signatures and individual pitches. An element of appreciation of fine arts is exhibited in this course as students will learn parallels between the development of music theory and that of other contemporary art forms (example: the ornamental development of the Baroque music as compared to Baroque art or Baroque architecture of that period).MEASURABLE OBJECTIVES:(The specific measures we use to determine whether or not we are successful in achieving the goal.) Audience – the local class of students. Behavior – do assigned readings, workbook analyses, classroom board work, and other assignments. Condition – The learning will occur in pre-class preparation and classroom activities. The student will be expected to have a rudimentary familiarity of music theory based on previous studies. How much – Since this is an area of importance to an expected musician, a minimum of 80% really should be the goal.INSTRUCTIONAL STRATEGIES: Instructional strategies will include, but will not be limited to, the following: lectures, board work by student and instructor, online assignments, musical analysis and examinations.TECHNOLOGY INTEGRATION: This course will use Blackboard and also an instructional DVD – “Understanding the Fundamentals of Music, Part one and two.”ACADEMIC INTEGRITY STANDARDS:Honesty and Violation of Integrity such as Plagiarism; Student Class conduct (use of cell phone and electronic devises).ETHICS:Students are expected to be honest in all dealings with College. Cell phones and other electronic devices will not be used during this class. Cell phones and ipod-like devices are not to be used during this class. Cell phone should be placed on “vibrate.” Profanity or any type of offensive behavior will not be tolerated in this class. The stated College Dress Code will be enforced. Students are expected at all times to carry themselves like ladies and gentlemen. (See “Policy Statement on Academic Misconduct” below.)Consult the College Catalog to ensure consistency with published academic policies. Consult the College Faculty Manual and College Student Handbook on matters regarding student conduct, etc.CLASSROOM PARTICIPATION:All students are expected to participate in the classroom. Classroom participation consists of board work, question/answer period, group discussions, solfege, demonstrations at the piano, clapping rhythmic exercises, etc. Failure to totally participate will considerably lower the grade point average, thereby causing said student to fail the course.POLICY STATEMENT ON ACADEMIC MISCONDUCT: College adheres to the highest standards of academic integrity. The following examples represent some basic types of behavior that are unacceptable:Academic Dishonesty includes plagiarism, as well as any deliberate attempt to gain advantage. Dishonest practices include fabrication of data, cheating, or uttering by a student of false statements relating to academic work.Plagiarism is submitting material that in part or whole is not one’s own work, without attributing those same portions to their correct source. (Plagiarism should be distinguished from cooperation and collaboration. Often, students may be permitted or expected to work together on assignments and to present the results collectively or individually. This is not a problem as long as it is clearly understood who participated in producing the work.)Cheating is defined as using unauthorized notes, study aids, or information on an examination; altering graded work after it has been returned, then submitting the work – claiming it was unfairly evaluated the first time; allowing another person to do one’s work and submitting that work under one’s own name; submitting identical or similar papers for credit in more than one course without prior permission from the course instructors.Fabrication is falsifying or inventing any information, data or citation; presenting data that were not gathered in accordance with standard guidelines defining the appropriate methods for collecting or generating data and failing to include an accurate account of the method by which the data were gathered or collected. This includes using data from web sites.Obtaining an Unfair Advantage is 1) Stealing, reproducing, circulating or otherwise gaining access to examination materials prior to the time authorized by the instructor; 2) Stealing, destroying, defacing or concealing library materials with the purpose of depriving others of their use; 3) Unauthorized collaborating on an academic assignment; 4) Retaining, possessing, using or circulating previously given examination material, where those materials clearly indicate that they are to be returned to the instructor at the conclusion of the examination; 5) Intentionally obstructing or interfering with another student’s academic work; 6) Undertaking any activity with the purpose of creating or obtaining an unfair academic advantage over other students’ academic work.Aiding and Abetting Academic Dishonesty is providing material, information, or other assistance to another person with knowledge that such aid could be used in any of the violations stated above or providing false information in connection with any inquiry regarding academic integrity.Falsification of Research and Official Documents includes altering documents affecting academic records; forging signatures of authorization or falsifying information on an official academic document, grade report, letter of permission, pre-registration form, add/drop form, ID Card, or any other official College document.Unauthorized Access to computerized academic or administrative records or systems, releasing or dispensing information gained via unauthorized access or interfering with the use or availability of computer systems or information.Disruptive Behavior is defined as any behavior, which causes disorder, chaos, unruliness or turmoil in or near a classroom. In minor disruptions the faculty member may handle the disruption individually. The instructor may notify in writing their department head in more serious cases with appropriate notification of the School and the Vice Presidents for Academic Affairs and Student Affairs. If the disruption is severe and the faculty member is not able to resolve the disruption, Campus Security will be called.Students are encouraged to discuss academic dishonesty with faculty and staff members to be certain they understand the policy, procedures and consequences.DRESS CODE POLICY: Hats, scarves, caps, and stocking caps (i.e., wave caps, skull caps, bandannas, etc.) worn by all males are prohibited in all buildings on the campus. Students are expected to dress in a manner, which is not offensive to others in the College community. This means faculty and other students do not want to see your personal body parts with tattoos, etc., and your underwear. Under-garments should never be exposed to the eyes of others. Respect yourself and others. Short-shorts, micro-minis, and midriff tops should not be worn to class meetings, assemblies, or convocations at the College. Pants falling below the waist-line should not be worn; scarves, hair-rollers, bedroom slippers and pajamas are prohibited in all buildings on the campus. Dressing inappropriately may result in your being asked to leave the class, event or the College. Persistent violations will be referred to the Vice President for Student Affairs or designee.STUDENT RECITALS:Music students must attend all Student Recitals (and others, as required) when scheduled. Non-attendance will cause 15% of the Applied grade to be dropped.POLICY STATEMENT ON EQUAL TREATMENT AND DISABILITIES:Students who have special needs, such as disabilities, problems, or other factors that may affect their performance in class, or who require special instructional strategies, should make these special needs known to the instructor during the first week of the course.SUCCESS TIPS:Purchase and use YOUR OWN text and workbook.Work in a quiet setting, preferably at a keyboard or piano.Master the following foundational goals to begin a study of music theory and harmony:Develop a basic understanding of all scales and key signatures.Understand Major and minor tonality and how they relate to each other.Develop the ability to spell Major and minor triads on any given note.Understand the numerical system applied to chords in any key and the tonality of those Chords.Master the techniques in each assignment, as the assignments tend to build on each other.DISABILITIES ACCOMMODATIONS:Students with disabilities may contact Ms. Judith Cowan.Johnson C. Smith University Introduction to Music Literature (MUS 131C)Spring Semester, 2015 T-Th 12:00-1:15 p.m. Dr. Walter Bragg, instructor Email: wbragg@jcsu.edu Phone: 704.378.3585 Office Hours: TBACourse DescriptionMUS 131 surveys selected works in the Western and American art music tradition from Medieval through the present day. By using these works, culture, style, biography and aesthetic issues will be discussed as well. By understanding various basic applications and manifestations of harmony, melody, rhythm and genre, this course prepares students for future music appreciation experiences.In each class session, major composers and their principal works will be discussed. The reading assigned to each session is essential for providing necessary background of the lecture. It is the student’s duty to perform assigned readings before class and to review course material, selected music and listening examples afterwards. Each student will be required to attend classes and to remain current in reading assignments. Students are expected to actively participate in class discussions and other class projects.Required Texts and MaterialJay Zorn and June August, Listening to Music, 5th ed. (Upper Saddle River, New Jersey: Pearson-Prentice Hall, 2007.) Package includes textbook and 4 CD set. Publisher also has interactive listening guides on –line and can be reached at: l and Group PresentationsThere will be three exams, three listening exams, one individual presentation, a midterm and a critique (that will count 10% of your semester grade) given this semester. The exams consist of writing about concepts, techniques, and repertoire discussed in the lectures and reading (test dates are listed on the weekly calendar). Also, at the discretion of the instructor, multiple-choice exams may be used. Written assignments are due in class on time, no late papers are accepted. Furthermore, you should use correct grammar regarding any written assignment.Each student will make a presentation on a classical or jazz musician (African American, African, Indian, Hispanic, etc.) Each student has to present a fifteen-minute presentation finalized by the instructor {tentative assignment and schedule}. Students are required to inform the instructor for any excused absence prior to the class. Any excused make-up exams are required to be finished within three days.No make-up exams will be permitted at any point without an accompanying letter from the Dean of the College.GradingStudents are expected to attend all classes on time. Students coming 5 minutes after the start of class will be marked tardy. Two tardies count as I unexcused absence. The final grade will be lowered by one letter for each unexcused absence. NOTE: Please see me if there are extenuating circumstances! Please email me ahead of time if you have an emergency that would require you to miss class. “A”: 90-100 percent, “B”: 80-89 percent; “C”: 70-79 percent; “D”: 60-69; “F”: below 60 percent. Point DistributionIndividual Presentation10% Concert Critiques (With program)10% Midterm 30% Listening Exams (3) 15% Tests (3)15% Class Discussion, Participation and Attendance 20%University/Class PoliciesAttendance Class attendance is required for all JCSU students. Each student is allowed as many hours of absence per term as credit hour(s) received (not to exceed4) for the class. A student is expected to attend all classes and not be absent without adequate cause. It is the responsibility of the student to make up scheduled work missed because of class absences. Absence from unannounced tests and other assignments may be made up at the discretion of the instructor. Students who exceed the maximum number of absences may receive a failing grade for the course.The JCSU Honor Code (enforced by the Office of Academic Affairs and the University Judiciary Board): I pledge that this work is my own and I will not cheat, or represent words, or ideas, or projects of others as my own. I further pledge that I will not engage in academic dishonesty, which includes lying, staling or assisting others in misrepresenting their work. As a member of the student body of Johnson C. Smith University, I also pledge to report all violations of the Honor Code that I observe in others. I understand that violations of the Honor Code are subject to disciplinary procedures by the university.Class Behavior and Standard of Conduct: The aim of disciplinary procedures is to encourage behavior, to maintain social order, and to protest the rights of persons in the University community. The implementation of disciplinary procedures is held to be a function of the education and developmental process. Essential to the aim of disciplinary procedures is the principle of “fundamental fairness,” which provides the framework for the adjudication of student misconduct and breach of institutional policies and regulations. The spirit of judicial process is based on good faith – a mutual trust between the University and the student.The University’s judicial system is necessary for the adjudication of interpersonal differences, conflicts, misconduct, and violations. The system is comprised of the Student Judiciary Board, the University Judiciary Board, the Assistant Vice President of Student Affairs, and the Vice President of Student Affairs. Ad hoc judicial boards may be established as needed. The President of the University, as supervisor of the administration of student discipline, also serves as the final appellate officer for sanctions of expulsion only.JCSU Policy on Disruptive Behavior: When the student is judged to have engaged in disruptive behavior, the instructor shall initiate the following procedures:The instructor will request the student to discontinue the disruptive action.If the behavior continues, the instructor will instruct the student to leave the classroom.Security will be called to remove the student if he or she does not leave when requested.An incident report will then be completed by the instructor and filed with the Vice President for Academic Affairs. Copies will be sent to the student, advisor, office of student affairs, and the teaching and learning center.After completion of the incident report, including student’s comments, the student must secure the written permission of the Vice President of Academic Affairs in order to return to class. The student will be held responsible for all absences incurred between the time of suspension from class and his or her return.Any recurrence of disruptive behavior on the part of the student will result in expulsion from the class and a grade of “F” recorded in the semester in which the offense occurred.Disabled Students Policy: It is the policy of Johnson C. Smith University to provide equal access and reasonable accommodations for its students with disabilities participating in, attending, or benefiting from University Sponsored programs and activities.Definition: Johnson C. Smith defines disabilities in the following manner:A disabled person is anyone who (1) has a physical or mental impairment which substantially limits one or more person’s major life activities; (2) has a record of such impairment; or (3) is regarded as having such an impairment.The term physical or mental impairment includes, but is not limited to, speech, hearing, visual, and orthopedic impairments, cerebral palsy, epilepsy, muscular dystrophy, multiple sclerosis, cancer, diabetes, heart disease, mental retardation, emotional illness, and specific learning disabilities, such as perceptual handicaps, brain injury, dyslexia, minimal brain dysfunction, and development or aphasia. Class ScheduleWeek 1Jan. 13 & 15IntroductionWeek 2 Jan. 20 & 22 Introduction/Course Syllabus 1. From the Creator to the Listener 2.What to listen for in MusicWeek 3Jan. 27 & 29 3. Becoming a Musically Aware ConcertgoerWeek 4Feb. 3 & 5 4. How the Basic Musical Elements InteractWeek 5Feb. 10 & 12 5. Performing Media: Instruments, Voices, and Ensembles {*} Exam 1Week 6Feb. 17 & 19 6. An Introduction to Musical Styles 7. Music Before 1600 Week 7Feb. 24 & 26 8. The Baroque Style Period (1600-1750) 9. Baroque Style Music (1600-1750) {*} Listening Exam 1 I may give this exam the week of March 2-6.Week 8Mar. 3 & 5 10. The Classical Style Period (1750-1820) 11. Music of the Classical Period 12. Beethoven: Bridge to Romanticism Week 9March 10 & 12 12. Beethoven: Bridge to Romanticism 13. The Romantic Style Period (1820-1900) {*} Exam 2 Chapters 10-13 Week 10March 17 & 19 14. Early Romantic Music 16. Late Romantic Music Week 11 March 24 & 26 [Chapters 14-16-18-21] 18. Impressionism 21. Expressionism: Atonal Music {*} Listening Exam 2 SPRING BREAK AND THE EASTER HOLIDAY: MARCH 30TH- APRIL 6TH. Week 12 April 7 & 9 Individual Presentations Week 13April 14 & 16 Individual Presentations Week 14 April 21 & 23 Individual PresentationsWeek 15 April 28 & 30 Individual Presentations Senior Final- TBS Week 16May 4th-9th {TBA} Exam 3 & Listening Exam 3 [Please review the point distribution on page 2 of the course syllabus]. ALABAMA STATE UNIVERSITY COLLEGE OF VISUAL & PERFORMING ARTS DEPARTMENT OF MUSICCOURSE SYLLABUSAPPLIED PIANOCOUTDR DESCRIPTION:This course is designed to develop students’ skills needed for the performance of selected piano etudes and solo literature. Basic technical and artistic principles are stressed in accordance with the student’s current performance ability. Strategies are chosen or designed to facilitate the student’s achievement of his/her maximum level of technical proficiency, musical understanding, expressive performance, and musical taste.CREDIT HOURS: 1INSTRUCTOR:Dr. Walter BraggPHONE:(334) 229.4100OFFICE:Tullibody Music Building-Rm. 304OFFICE HOURS:as posted or by appointmentATTENDANCE POLICY:See University BulletinAny student requiring alternative formats for testing and/or handouts for this course, or other types of accommodation, due to a handicapping condition, should advise the instructor within the first week of class.Purpose of the CourseThe primary objective for MUP 001, 101, 102, 201, 202, 301, 302, 401, 402 is to prepare students to perform at an advanced level and complete all requirements for successful completion of the assigned recital requirements. Emphasis is on the study and preparation of multiple works from various composers and stylistic periods to be performed in the recital setting. Basic music terminology and performance concepts will be introduced throughout the applied sequence, with teaching strategies focused on emphasizing individual performance ability levels.These courses fulfill the following institutional, state, and national standards:Alabama State University Conceptual Framework 1.1 and 1.6Alabama State Department of Education Rules for Music Knowledge and Ability Standards: 290-3-332(1) (b)1. Perform at an advanced level in one applied area, demonstrating technical accuracy and musical expression and perform in a variety large and small ensembles290-3-332(1)(b)6.Interpret representative works of the past and present and evaluate the quality of the musical works and performancesINTASC Standards 1, 4, and 7NASM Standards – VII.. 1 (Bachelor of Music Education)Evaluation and Minimum StandardsTo achieve the course objectives, the student must acquire a minimum of 70% ofthe points for each objective. The guidelines for completing and the total qualitypoints are identified within each objective. The course objectives total 350 points.Evaluation Scale:A=315-350B=280-314C=245-279D=210-244Objectives will be evaluated on the basis of (A) development of advanced performance skills, And (B) implementation of advanced performance skills. Total possible points=350. These Objectives will be evaluated on the completion of weekly lesson assignments (150 points) . A mid-term technical jury (50 points),a performance class recital (50 points) and a final jury.Exam (100 points).Instructional ObjectivesStudents will perform selected scales and arpeggios.Students will perform selected technical exercises and etudes.Students will perform selected solo literature.Students will perform selected sight-reading examples.Students will perform on assigned performance class recitals.Students will perform on jury evaluations. Failure to perform jury for 100-level applied lessons and higher will result in a grade of ‘F’ for the course.Students will participate in small and large ensembles.Students will enroll concurrently in MUP 099 – Performance Class.Course Requirements and MaterialsAttendance: Regular class attendance and participation is required.Equipment: Pianos are available for practice on the second and third floor for those students enrolled in applied piano. All students must have their own metronome.Text: Required texts will be assigned at the beginning of the semester and will depend on individual ability level. AbstractAuthor(s): ?Bragg, Walter C. University of Alabama. School of Music. Title(s):Stylistic consistency and contextual elements in selected songs of George Walker Publication:2004Description:This study has examined compositional processes in a group of Walker's songs including: 1) "Hey Nonny No"; 2) "I Went to Heaven"; 3) "The Bereaved Maid"; 4) "Sweet, Let Me Go"; 5) "Response"; and 6) "So We'll Go No More A-Roving"; and has identified through analysis, elements which characterize each of the songs as well as features they all share. These observations have been made in support of a thesis which asserts that: Important features of tonal structure, design, texture, and form derive from interval structure, melodic contour, and compositional processes introduced in each song and reaffirmed by others in this same group, as much as they derive from inherited harmonic paradigms and contrapuntal practices of the established western tradition.?Typescript.?Thesis (D.M.A.)--University of Alabama, 2004.RecitalsUniversity of Alabama, College of Arts and SciencesSchool of Music, Tuscaloosa, AlabamaGraduate Recital, December 8, 1999.University of Alabama, College of Arts and SciencesSchool of Music, Tuscaloosa, AlabamaGraduate Recital, May 4, 2001.University of Alabama, College of Arts and SciencesSchool of Music, Tuscaloosa, AlabamaGraduate Recital, April 25, 2002.University of Alabama, College of Arts and SciencesSchool of Music, Tuscaloosa, AlabamaGraduate Lecture November 21, 2002. ................
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