Synthesis
During their time at NGU, music students will focus on the synthesis of music, which is the combining of what they learn in all classes, to become an effective teacher, performer, music worship leader, and overall musician.
Each student is measured on synthesis through their culminating degree recital(s). The requirements for synthesis are listed below by applied area and more specific examples may be found in each applied syllabus and/or handbook.
BRASS – Each recital will include at least one piece or movement of a concerto that will include a theoretical analysis. This analysis will include phrase structure, harmonic analysis, thematic development and stylistic characteristics relevant to the time period or composer.
PERCUSSION – The student will teach a standard college level etude, excerpt, or solo during a seminar class. Areas to be evaluated are: historical context, style, musical interpretation, technically challenging passages and how might one practice a particular passage, various types of articulations used and how to produce these articulations, tricky sticking patterns/rudiments/pedaling, tone production and how it may or may not vary in a certain section, dynamic challenges, etc. This will be evaluated on a pass/fail basis. If the student fails, the student will teach the work again. This will take place in the semester the student gives their graduating recital. The applied professor will select the musical selection, which may be for snare drum, keyboard, timpani, multi-percussion, or drum set.
PIANO – Historical program notes and a theoretical analysis will be applied to pieces on the recital program as deemed appropriate by the professor.
ORGAN – The professor will assign at least one of the recital pieces for theoretical analysis. All pieces should be researched for program notes, and for assistance in style and interpretation.
STRINGS – Historical program notes and a theoretical analysis will be applied to pieces on the recital program as deemed appropriate by the professor.
VOICE – Voice majors will be required to submit for retention in the FA records an electronic notebook containing folders which include the following on each piece performed on the Junior and/or Senior Voice Recital: Basic Theoretical analysis, Composer and/or poet biographical information, translations of foreign language selections, and IPA transcriptions of foreign language repertoire. Translations of all foreign repertoire will also be included in the program for the recital.
WOODWINDS – The student will teach a standard college level etude during a seminar class. Areas to be evaluated are: historical context of etude, style, musical interpretation, technically challenging passages and how might one practice a particular passage, various types of articulations used and how to produce these articulations, tricky fingerings, tone production and how it may or may not vary in a certain section, dynamic challenges, etc. This will be evaluated on a pass/fail bases. If the student fails, the student will teach the work again. This will take place in the semester the student gives their graduating recital. Types of material that may be used include: Clarinet: Rose or Jeanjean etudes, Saxophone: Ferling Etudes, Oboe: Ferling Etudes, Bassoon: Milde Etudes, Flutes: Anderson Etudes/Studies. The applied professor will select the etude.
GUITAR – Guitar majors will demonstrate synthesis during recitals with the inclusion of a performance of at least one original solo transcription. The selection will be subject to the approval of the applied area instructor, and will be included in the recital program. In addition to the transcription, students will submit a biographical sketch of the original artist, with an informative written discussion of the particulars of the artist’s technique, theoretical approach to improvisation and composition, and features of the composition which place it in its historical context.
Based upon the specific music degree sought, other forms of culminating synthesis may include an exit exam, student teaching, or a practicum.
Music Worship Leadership
1. For the BAMWS student, the demonstration of synthesis of their course of study is illustrated in several ways. The first is as a part of their recital as a singer, pianist, or other instrumentalist.
2. A second demonstration of synthesis is successfully completing MUSC 4250 Worship Practicum. Enrollment in this course requires the student to spend several hours a week under the supervision of a full-time minister of music or worship leader in a local church. It is in this course that they have the opportunity to demonstrate the functional combination of their skills in music theory, music history, proficiency on their instrument, music technology and media, the ability to work with different age groups in a worship setting, the ability to work with music ensembles demonstrating their skills in conducting, directing, rehearsal techniques, and worship planning. During the semester of the practicum the student also demonstrates their familiarity with worship administration by participating in the usual meetings of a full-time minister of music: staff meetings, church councils, music staff meetings, committee meetings, and rehearsals. Synthesis of course work is also demonstrated during the practicum course as the student participates in the day to day activities of a music worship leader, ordering and organizing music, audio and technology resources, instruments, and other items needed for the music ministry, and if possible, going with the practicum site supervisor to hospitals to visit church members.
3. Music Worship Studies students additionally demonstrate synthesis via the exit exam taken prior to graduation. A committee of professors asks the student questions which cover a cross-section of content from all courses in the degree curriculum. The professors ask the student to speak to their knowledge of church music administration; selecting worship literature based on an awareness of a philosophy of church music that each student has begun to form; their knowledge of working with church music ensembles, which encompass a variety of ages and skill levels, the student’s awareness of the dual roles in worship leadership – from a ministerial perspective or from a musical perspective. Other questions on the exit exam ask the student to assess their own calling to music ministry, and if the synthesis of all of their studies have given them adequate skills to lead a church’s worship ministry.
Music Education
In Music Education, students are introduced to Bloom's Taxonomy of Learning as early as the freshman year in Intro to Education. When students enroll in the Music Tech classes, efforts are made by the professors to have students acquire skills in teaching of instruments so that a level of synthesis is reached. With the two methods classes in techniques and skills of teaching accompanied by 80 hours of field experiences (grades K-12), students are required to develop unit and daily lesson plans that are at the higher order thinking skill level culminating in synthesis in the summative evaluation. Music Education majors have to provide evidence of synthesis in their class work by passing the Music Education Praxis II evaluation prior to student teaching. For Music Education majors, true synthesis occurs in the 60 days of student teaching when the teacher candidate prepares units of instruction, with daily lesson plans, along with the work sample to provide evidence that learning has taken place in the classroom. Teacher candidates are required to indicate the level of Bloom's Taxonomy reached in each lesson and unit. The ADEPT 4.0 model of evaluation as prescribed by the South Carolina State Department of Education validates the synthesis progress through the four Domains of teaching (Instruction, Planning, Environment, and Professionalism) which must be passed prior to graduation and receiving South Carolina Teacher Certification. An electronic portfolio is prepared by the student teacher candidates who are evaluated by the cooperating teacher and the University supervisor prior to the completion of the 60 days of student teaching. This portfolio is a written record of how the music education candidate has reached the synthesis level of learning in not only the courses required for graduation, but using the knowledge and skills acquired to teach students in the student teaching assignment.
BA in Music
Bachelor of Arts Music students demonstrate synthesis of their course of study in applied lessons as illustrated in section A above with regard to their senior recital as a vocalist, pianist, or other instrumentalist. BA students additionally demonstrate synthesis via the exit exam taken prior to graduation. A committee of professors asks the student to speak to their knowledge in their 3000- level elective music course, knowledge of the basic elements of music and how these elements have enhanced their growth as a musician, and their personal commitment to music. In addition, there are questions regarding the liberal arts and other areas of interest.