Assessment Plan: Undergraduate Degrees Department of Music Miami University. APPROVED BY MUSIC FACULTY 18 April 2012

Transcription

1 Assessment Plan: Undergraduate Degrees Department of Music Miami University APPROVED BY MUSIC FACULTY 18 April 2012 CONTENTS Bachelor of Music in Music Education Bachelor of Music in Music Performance Bachelor of Arts in Music Timeline for Assessment Activities: Undergraduate Degrees in Music Appendix A: Rubric to Assess MUS 161 and MUS 261 Final Examinations Appendix B: End- of- Semester Survey: Functional Piano Appendix C: Rubric to Assess Sophomore Standing Hearing, Junior Standing Hearing, Recital Hearing Appendix D: Survey: Applied Music Appendix E: Rubric to Assess MUS 202 Assignment Appendix F: End- of- Semester Survey: MUS

2 PROGRAM INFORMATION Degree: Bachelor of Music in Music Education Department: Music Division: School of Fine Arts Academic Year: Already in Progress CONTACT PERSON Dr. Chris Tanner Associate Chair Department of Music PROGRAM MISSION STATEMENT The mission of the Bachelor of Music in Music Education is to prepare students to be successful music educators by providing a comprehensive program of music courses academic study in music, music education methodology, performance studies and practicum in order that they may become exemplars within the discipline. STUDENT LEARNING OUTCOMES 1. Students will demonstrate piano proficiency. 2. Students will demonstrate skills requisite for artistic self- expression in their major performance medium. 3. Students will critically analyze chromatic music within a tonal idiom. ASSESSMENT PLANS FOR STUDENT LEARNING OUTCOMES Outcome #1: Students will demonstrate piano proficiency. Target Goal: All students who graduate with a Bachelor of Music in Music Education degree must demonstrate piano proficiency. The department s accrediting body, NASM (National Association of Schools of Music), mandates piano proficiency (see NASM Handbook , VIII.B.1.e.). Requisite Courses and Activities: Entering music majors with no prior piano experience are automatically enrolled in MUS 160, which is the entry- level course in functional piano. Bachelor of Music students must then complete a four- course sequence (MUS 160, 161, 260, 261), and pass the final examination in MUS 261 to fulfill the requirement. The department assesses entering music majors who have prior experience on piano. Depending on the results of this initial assessment, students may be placed in an upper- level functional piano course, or they may be permitted to take a proficiency examination. Students who pass the proficiency examination fulfill the requirement. 2

3 Scoring: The department has developed a rubric (See Appendix A) for directly measuring students achievement in terms of piano proficiency. The rubric is used to score all piano proficiency examinations that occur in MUS 161 and MUS 261. Scores from piano proficiency examinations will be kept in individual student files in the department office. Students who take a proficiency examination upon entering the program, without taking functional piano courses, are not assessed with this rubric. Measuring Student Perceptions: The department will assess student perceptions of their work in keyboard proficiency through an end- of- semester survey in MUS 161 and 261 (see Appendix B). Results: Data collected from the scoring of piano proficiency examinations and from end- of- semester surveys will be collated and analyzed by the coordinator of functional piano. The coordinator will share the information with graduate teaching assistants in piano every semester, and will also share the findings at a meeting with the full faculty during the fall semester. Faculty will then discuss the findings and offer suggestions for improvement. Outcome #2: Students will demonstrate skills requisite for artistic selfexpression in their major performance medium. Target Goal: All students who graduate with a Bachelor of Music in Music Education degree must demonstrate skills requisite for artistic self- expression in their major performance medium. The department s accrediting body, NASM (National Association of Schools of Music), mandates that all music majors demonstrate these competencies (see NASM Handbook , VIII.B.1.a.). Requisite Courses and Activities: Students pursue mastery of this learning outcome through a continuous series of applied music courses (MUS 142, 242, 342, 442). A recital featuring a minimum of 25 minutes of music given in the senior year represents the culmination of this study. Students must pass several barrier procedures in order to be eligible to perform the recital. In the first place, the department only admits students to the major if they pass a successful entrance audition. In this way, the department protects the integrity of the program. The following three barrier procedures apply to all students admitted into the music education degree program: Students must pass a sophomore standing hearing in order to enroll for sophomore level (MUS 242) hours in applied music. Students typically take the sophomore standing hearing at the end of their first year of study. A committee of music faculty members hears the sophomore standing hearing. Students who fail the hearing are allowed one additional opportunity to pass. 3

4 Students must pass a junior standing hearing in order to enroll for junior level (MUS 342) hours in applied music. Students typically take the junior standing hearing at the end of their second year of study. A committee of music faculty members hears the junior standing hearing. Students who fail the hearing are allowed one additional opportunity to pass. Students preparing to perform a senior recital must pass a recital hearing in which the student must be prepared to perform the complete recital. The hearing must take place a minimum of two weeks prior to the scheduled recital date. A panel comprising at minimum the major applied music instructor and two other music faculty members adjudicates the hearing. Critical Thinking Preparing repertoire for performance requires students to engage the Global Miami Plan principle of critical thinking. Musical performance is a synthesis and application of musical knowledge, technical execution and expressive content. The act of live performance involves decision- making in real time, along with continual assessment and adjustment. Scoring: The department has developed a rubric (See Appendix C) for directly measuring students achievement in terms of performance. The rubric will be used at each of the three barrier procedures: the sophomore standing hearing, the junior standing hearing and the recital hearing. Scores from these examinations will be kept in individual student files in the department office. Measuring Student Perceptions: Music education students enrolled in applied music have a weekly, hour- long, one- on- one lesson and an additional weekly, hour- long studio class or forum. B.M. majors (Music Education and Performance) register for applied music throughout the course of their entire undergraduate experience. This format allows for continual, personal interaction between the instructor and the student. As a result, students are intimately aware of their progress in terms of performance. Effectively, instructors end up crafting individualized plans of study for their students, based on the interaction that occurs during weekly lessons. The time and attention necessary to carefully address individual student needs, and the degree of care taken by applied music instructors within the department in order to do so, cannot be overstated. The department will assess student perceptions of their work in applied music through a survey administered to students at each of the three barrier procedures: the sophomore standing hearing, the junior standing hearing and the recital hearing. (see Appendix D). Results: The Performance Studies Committee will meet at the beginning of the fall semester to collect and analyze data from hearing examinations and recital hearings that occurred in the previous academic year, as well as data from surveys. At a full faculty meeting during the fall semester, the committee will report its findings. Faculty will then discuss the findings and offer suggestions for improvement. 4

5 Outcome #3: Students will critically analyze chromatic music within a tonal idiom Target Goal: All students who graduate with a Bachelor of Music in Music Education degree must demonstrate the ability to analyze common elements and organizational patterns of music. The department s accrediting body, NASM (National Association of Schools of Music), mandates that all music majors demonstrate this competency (see NASM Handbook , VIII.B.2.a.). Requisite Courses and Activities: Students pursue mastery of this learning outcome through a continuous series of courses in music theory (MUS 101, 102, 201, 202). The particular competency targeted above will be assessed in MUS 202, which students typically take in the second semester of their sophomore year of study. An assignment requiring students to analyze a piece of Western art music (repertoire to be selected jointly by MUS 202 faculty each year) will serve as the assessment instrument. All students enrolled in any section of MUS 202 will complete this assignment. Critical Thinking Students employ critical thinking skills as they analyze music. In creating effective analyses, students identify harmonic progressions, make inferences as to compositional intent, interpret musical gestures and patterns, and defend their own musical judgments. What s more, students must be able to place particular passages of a piece of music into the broader context of the entire piece. Contextual knowledge that is available or that can be inferred, such as the time period in which a piece was composed, can inform the analysis. Scoring: The department has developed a rubric (See Appendix E) for directly measuring students achievement in terms of music analysis. Scores from student assignments will be placed in individual student files in the department office. Measuring Student Perceptions: The department will assess student perceptions of their work in music theory through an end- of- semester survey in MUS 202 (see Appendix F). Results: Instructors for MUS 202 will meet at the conclusion of the fall semester to collect and analyze data from the analysis assignment and also from end- of- semester surveys. At a full faculty meeting during the fall semester, the instructors will report their findings. Faculty will then discuss the findings and offer suggestions for improvement. 5

6 PROGRAM INFORMATION Degree: Bachelor of Music in Music Performance Department: Music Division: School of Fine Arts Academic Year: Already in Progress CONTACT PERSON Dr. Chris Tanner Associate Chair Department of Music PROGRAM MISSION STATEMENT The mission of the Bachelor of Music in Music Performance is to prepare students for successful careers in music performance, or for future studies in music performance at the graduate level, through a comprehensive program of courses in both academic and performance studies in music. STUDENT LEARNING OUTCOMES 1. Students will demonstrate piano proficiency. 2. Students will demonstrate technical skills requisite for artistic self- expression in their major performance medium. 3. Students will critically analyze chromatic music within a tonal idiom. ASSESSMENT PLANS FOR STUDENT LEARNING OUTCOMES Outcome #1: Students will demonstrate piano proficiency. The assessment plan for this learning outcome is identical to that described above regarding the Bachelor of Music in Music Education (see pages 2-3) Outcome #2: Students will demonstrate skills requisite for artistic selfexpression in their major performance medium. The assessment plan for this learning outcome is identical to that described above regarding the Bachelor of Music in Music Education (see pages 3-5). The only exception is that Performance majors are required to perform a recital featuring a minimum of 45 minutes (as opposed to 25 minutes) of music. Outcome #3: Students will critically analyze chromatic music within a tonal idiom The assessment plan for this learning outcome is identical to that described above regarding the Bachelor of Music in Music Education (see page 5) 6

7 PROGRAM INFORMATION Degree: Bachelor of Arts in Music Department: Music Division: School of Fine Arts Academic Year: Already in Progress CONTACT PERSON Dr. Chris Tanner Associate Chair Department of Music PROGRAM MISSION STATEMENT The mission of the Bachelor of Arts in Music is to prepare students for a variety of careers, musical and non- musical, through a combination of broad, liberal arts offerings and concentrated studies in music. STUDENT LEARNING OUTCOMES 1. Students will demonstrate piano proficiency. 2. Students will demonstrate technical skills requisite for artistic self- expression in their major performance medium. 3. Students will critically analyze chromatic music within a tonal idiom. ASSESSMENT PLANS FOR STUDENT LEARNING OUTCOMES Outcome #1: Students will demonstrate piano proficiency. The assessment plan for this learning outcome is identical to that described above regarding the Bachelor of Music in Music Education (see pages 2-3). The only exception is that Bachelor of Arts in Music majors complete a two- course sequence (MUS 160, 161) and must pass the final examination in MUS 161 to fulfill the requirement. Outcome #2: Students will demonstrate skills requisite for artistic selfexpression in their major performance medium. The assessment plan for this learning outcome is identical to that described above regarding the Bachelor of Music in Music Education (see pages 3-5). The only exception is that Bachelor of Arts in Music majors are only required to study applied music until they obtain sophomore standing. The degree plan mandates neither a junior standing hearing nor a recital. Outcome #3: Students will critically analyze chromatic music within a tonal idiom The assessment plan for this learning outcome is identical to that described above regarding the Bachelor of Music in Music Education (see page 5) 7

8 TIMELINE FOR ASSESSMENT ACTIVITIES: Undergraduate Degrees in Music ONGOING Recital hearings held; data collected. FALL November- December Assessment Reports are delivered at a full faculty meeting: 1. Coordinator of class piano reports findings in terms of functional piano. 2. Chair of Performance Studies Committee reports findings in terms of performance examinations. 3. Coordinator of Music Theory reports findings in terms of music theory. December Sophomore and junior standing hearings held; data collected. SPRING April- May Analysis assignment given in sections of MUS 202; data collected by MUS 202 instructors. Instructors for MUS 202 meet to discuss data from analysis assignment. Functional piano examinations held; data collected. Sophomore and junior standing hearings held; data collected. 8

9 Appendix A Rubric to Assess MUS 161 and MUS 261 Final Examinations Performance Evaluation Accuracy: - Melodic - Rhythmic - Fingerings Not effective Performed with numerous hesitations and/or mistakes Minimally effective Performed with several hesitations and/or mistakes Moderately effective Performed with limited hesitations and/or mistakes Highly effective Performed with no hesitations and/or mistakes Musicality: - Dynamics, articulations and other Musical Symbols - Phrasing - Style - Pedaling Tempo & Fluency: - Tempo markings - Steady pulse Inattentive to musical symbols; does not understand style of piece and phrasing Very under tempo with no understanding of pulse Attentive to some musical symbols; beginning to develop an understanding of style of piece and phrasing Under tempo with inconsistent pulse Attentive to most musical symbols; generally understands style of piece and phrasing Slightly under tempo with an occasional unsteady pulse Attentive to all musical symbols; clearly understands style of piece and phrasing At specified tempo with consistently steady pulse 9

10 Appendix B End-of-Semester Survey: Functional Piano (MUS 161, 261) 1. Class piano provides only a basic foundation in functional piano skills. These skills typically require several years of continuing study in order to achieve mastery. Based on these conditions, I feel that my course sequence in class piano has provided sufficient basic knowledge to further develop my functional piano skills. Strongly Agree 4 Agree 3 Neutral 2 Disagree 1 Strongly Disagree 0 Not Applicable N/A 2. The curriculum in functional piano is well structured, and is presented and reinforced effectively. Strongly Agree 4 Agree 3 Neutral 2 Disagree 1 Strongly Disagree 0 Not Applicable N/A 10

11 Appendix C Rubric to Assess Sophomore Standing Hearing, Junior Standing Hearing, Recital Hearing Technique Fail does not meet the expectations of technique as demanded by the repertoire. Passable, but with reservation meets only some of the expectations of technique as demanded by the repertoire. demonstrates adequate level of technical mastery. Passable meets most of the expectations of technique as demanded by the repertoire. demonstrates a high level of technical mastery. Passable and exceptional exceeds the expectations of technique as demanded by the repertoire and demonstrates outstanding technical mastery. Accuracy (in terms of pitch, intonation, rhythm) does not demonstrate an accurate performance. demonstrates a performance that is mostly accurate. demonstrates a performance that is accurate, except for a few minor errors. demonstrates a flawless performance in terms of accuracy. Musicianship does not demonstrate a convincing interpretation of the repertoire. Components include appropriate use of expression, tone, dynamics, tempo, phrasing, articulation, and style. demonstrates an acceptable interpretation of the repertoire. Components include appropriate use of expression, tone, dynamics, tempo, phrasing, articulation, and style. effectively demonstrates a convincing interpretation of the repertoire. Components include appropriate use of expression, tone, dynamics, tempo, phrasing, articulation, and style. exceptionally demonstrates a convincing and artistic performance, including appropriate use of expression, tone, dynamics, tempo, phrasing, articulation, and style. 11

12 Appendix D Survey: Applied Music 1. My study in applied music is sufficiently preparing me for the various roles I undertake as a performer (e.g., soloist, chamber musician, ensemble member). Strongly Agree 4 Agree 3 Neutral 2 Disagree 1 Strongly Disagree 0 Not Applicable N/A 2. I have made demonstrable progress in terms of applied music study this semester Strongly Agree 4 Agree 3 Neutral 2 Disagree 1 Strongly Disagree 0 Not Applicable N/A 12

13 Appendix E Rubric to Assess MUS 202 Analysis Assignment Accuracy of Analysis Unacceptable Analysis is incomplete Minimally effective Analysis contains significant, numerous errors Moderately effective Analysis contains minor errors Effective Analysis contains almost no errors Strength of Supporting Evidence Assignment is unacceptable in terms of supporting evidence Analysis is weakly constructed, with little or no supporting evidence provided Analysis is well- defended through musical evidence, but alternative viewpoints were not seriously considered Varying viewpoints of analysis have been considered, but ultimate analytical choice is well- constructed based on musical evidence Formatting and Writing Assignment is unacceptable in terms of formatting and writing quality Assignment is inadequately formatted, and contains significant, numerous errors in spelling or grammar Assignment is neatly formatted, and contains a few errors in spelling or grammar Assignment is neatly formatted, and contains almost no errors in spelling or grammar 13

14 Appendix F End-of-Semester Survey: MUS After completing the Music Theory sequence, I feel capable of understanding analyses authored by others. Strongly Agree 4 Agree 3 Neutral 2 Disagree 1 Strongly Disagree 0 Not Applicable N/A 2. After completing the Music Theory sequence, I feel capable of independently analyzing repertoire that I may encounter in future studies or activities. Strongly Agree 4 Agree 3 Neutral 2 Disagree 1 Strongly Disagree 0 Not Applicable N/A 14