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Applied Perc Syllabus - Spring 2022

Youngstown State University Applied Percussion Syllabus Glenn Schaft, DMA

Spring 2022, Published 1/10/22

INTRODUCTION

This is a document of understanding between you and Dr. Schaft. Please discuss any questions or concerns you have with him during the first week of classes. Your enrollment signifies your understanding of its policies.

Course Info – MUAC# & CRN# vary per student. Course includes three components:

  • Seminar Class – Fri 12-12:50pm, Bliss Hall 2326, This is the only component listed on your Banner

Schedule

The other two components, Private Lessons and Group Lessons, times are determined by the

percussion coordinator after your advisement meeting and reviewing your schedule. These are posted on Dr. Schaft's Schedule on the website under the Media tab.

Instructor: Glenn Schaft, DMA – Professor of Music, Percussion Coordinator
email: geschaft@ysu.edu phone: 330.518.4812 studio: Bliss Hall 2234

glennschaft.compercussion.ysu.edu

Email communication with your instructor: should be treated as professional correspondence. Use a proper salutation, full words, complete sentences, correct spelling and grammar, and electronic signature including your mobile phone number. Texting or voicemail is not acceptable except in an emergency.

Office hours: Dr. Schaft provides five office hours per week posted on his personal schedule, see percussion website "Media" tab. Face-to-face walk-ins are welcome on a first-come first-served basis, but an appointment is recommended to guarantee a time.

Academic Advisement: As Percussion Coordinator I served as the principal academic advisor for all percussion majors. I will check your Banner registration to assure your schedule is best suited to your degree pursuits. If I notice any adjustments are needed, I will contact you before or during the first week of classes. Add/drops can be assisted by the advisors in the CCA office.

Review our website percussion.ysu.edu as important info about our program is published there. •General Percussion Registration and advisement

http://percussion.ysu.edu/student_resources/degrees_specialization.html

Coronavirus considerations:

As a consequence of the current coronavirus pandemic, students are expected to abide by all safety and health policies implemented by the University’s Office of Environmental Occupational Health and Safety as well as all applicable local, state, and federal mandates. If you are not fully vaccinated, I request you notify me via email before arriving on campus and that you wear a mask whenever in our percussion facilities. Covid protocols are frequently changing at the Federal, State, and Local levels and within the University, yet we need to constantly assure a safe environment in which to work together.

Course fee: A $65 course fee is assessed to offset YSU percussion instrument and facility maintenance costs, including a large percussion locker sign-out in the second-floor percussion hallway. It has been brought to my attention that “non- specified percentages” of this course fee are encumbered by the University for other purposes. Please know I have formally objected to such non-disclosures but cannot change the outcome and for this I apologize.

Recommended/Required Books and Gear – see website Media Tab, Instructional Resources, Books and Gear Recommendations. You should discuss your needs with Dr. Schaft as not every student will need the same resources.

TABLE OF CONTENTS

Article 1 — Applied Percussion Courses-Student Learning Outcomes Article 2 — Major Level Applied Percussion Course Components Article 3 — Curriculum Level Descriptions
Article 4 — Major Level Course Objectives

Article 5 — Philosophy of Percussion Curricula, Bachelor and Master of Music-this document is available on the website-curriculum pull-down tab
Article 6 — Jury Policy
Article 7 — Student Recitals

Article 8 — Assessment and Grading
Article 9 — General Information, University Policies, Gear Policy, etc. Article 10 –– Course Etiquette

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Youngstown State University Applied Percussion Syllabus Glenn Schaft, DMA Spring 2022, Published 1/10/22

ARTICLE 1 – APPLIED PERCUSSION COURSES–STUDENT LEARNING OUTCOMES

1.1: Prerequisite: An entrance audition and/or interview with the Director of Percussion Studies are required for admission into applied percussion major and minor level courses.
1.2: Minor level applied lessons are intended to: prepare a student for an entrance audition into the percussion major level, for music education majors pursuing more intensive study beyond the Percussion Methods course, for composers (non-percussionists) wishing to learn about writing for percussion, music minors enrolled in courses that permit minor level study, and undergraduate or graduate students desiring additional instruction. Permission to register for minor level lessons must be granted by Dr. Schaft and the Dana Director. Dr. Schaft will hold an audition/interview and make a recommendation to the Dana Director. Pending approval, the student may register for the recommended course. Each course is one (1) semester hour credit and courses are offered at:

  • 1500A freshman level 1500B freshman level
  • 2600A sophomore level 2600B sophomore level
  • 3700A junior level 3700B junior level
  • 5800A senior/graduate level 5800B senior/graduate level

Each course consists of 7.5 hours of instruction, typically offered as 15 thirty-minute lessons, 7.5 one-hour lessons, or another arrangement between teacher and student. A jury performance (final exam) may be required. Attendances or performances at Percussion Seminar classes may be required.
1.3: Major level applied studio instruction is intended for a student majoring in one of the percussion degree programs offered by the Dana School of Music. Final exams occur as a performance jury held during final exam week. Jury requirements are determined by the applied teacher and Percussion Coordinator and are assigned throughout the semester. A student may progress to the next course level by earning a course grade of "C" or higher.

1.4: The symbol * denotes a required degree recital course as published in the YSU ONLINE UNDERGRADUATE CATALOG: CURRICULA for All Music Majors - Each candidate for the degree Bachelor of Music must present a senior recital in partial fulfillment of the graduation requir ements. Such recitals must be presented concurrently with enrollment in the related applied course. Recitals are not transferable to other applied courses. Non-degree recitals are only permitted pending instructor approval. Non-degree recitals may not be counted as degree recitals. Junior recitals cannot be counted as senior recitals.
1.5: Major level applied studio instruction courses by degree program:

•Bachelor of Music in Performance:

  • ♣  1501 freshman level, 2 sh
  • ♣  2605 sophomore level, 4 sh
  • ♣  3705 junior level, 4 sh
  • ♣  4805 senior level, 4 sh

1502 freshman level, 2 sh 2606 sophomore level, 4 sh 3706* junior level, 4 sh 4806* senior level 4, sh

•Bachelor of Music; Music Education Instrumental, Music Education, Instrumental Jazz Emphasis, Bachelor of Music Recording Emphasis, Bachelor of Arts Entrepreneurship:

  • ♣  1501 freshman level, 2 sh
  • ♣  2601 sophomore level, 2 sh
  • ♣  3701 junior level, 2 sh,
  • ♣  4801* senior level, 2 sh

•Bachelor of Music; Jazz Performance Emphasis:

  • ♣  1501 freshman level, 2 sh
  • ♣  2603 sophomore level, 3 sh
  • ♣  3703 junior level 3, sh
  • ♣  4803 senior level, 3 sh

•Master of Music in Performance:

  • ♣  6901, 2 sh
  • ♣  6903, 2-4 sh
  • ♣  6905, 4 sh

1502 freshman level, 2 sh 2602 sophomore level, 2 sh 3702 junior level, 2 sh

1502 freshman level, 2 sh 2604 sophomore level, 3 sh 3704* junior level, 3 sh 4804* senior level, 3 sh

6902, 2 sh 6904, 2-4 sh **6906, 4 sh

ARTICLE 2 – MAJOR LEVEL APPLIED PERCUSSION COURSE COMPONENTS

2.1: Three Components: private lessons, group lessons, and seminar class. Only the Percussion Seminar Class (Fridays 12:00-12:50pm) appears on your Banner schedule. Applied lessons, both private and groups, are scheduled by the faculty after reviewing your schedule.
2.2: Private Lessons are designed to address individual needs.

  • Lesson quantity: Most music schools offer fifteen 50-minute lessons per semester and a weekly 50-minute studio (seminar) class. We also assign each student weekly small group lessons and the number of private lessons must be reduced to satisfy faculty workload regulations. Typically, but ultimately depending on the total number of group lessons offered, each student will receive thirteen private lessons per semester.
  • Scheduling lessons: The Percussion Coordinator assigns each student a private teacher, but may 2

Youngstown State University Applied Percussion Syllabus Glenn Schaft, DMA Spring 2022, Published 1/10/22

change these assignments any time. Assignments are made in consideration of your past achievement, student and faculty schedules, and what we believe is best for you. The private lesson assignment schedule is posted the first week of each semester.

  • Beginning and ending lessons: Notify your teacher of your presence by loudly knocking on their door at your lesson time; use the 3-2 rumba clave rhythm at rumba tempo. It is your responsibility to notify your teacher when you must leave.
  • Preparation: Lesson preparation necessarily varies weekly, but a long-term (entire semester) commitment to daily practice is expected and a consistent weekly time allocation is expected. Plan to warm-up for at least 30-minutes before each lesson.

2.3: Group lessons are designed to bring together students of similar interests and needs into collaborative and interactive learning environments.

  • Group lessons meet weekly (50’ per class) approximately 8-13 times per semester. The Percussion Coordinator posts a group lesson assignment chart the first week of classes.
  • Group lessons offer unique learning opportunities not possible in private lessons and afford students approximately twice the faculty contact time as only private lessons.
  • Topics may include: student or faculty performances and presentations, mind-body skills, practice techniques, listening, instrumental techniques, instrumental maintenance and repair, repertoire on timpani, snare drum, drum set, keyboards, orchestral accessories, multiple percussion, hand percussion, sight-reading, and rhythm.
  • Students are expected to develop pedagogical skills by assessing and coaching their colleagues.
    2.4: Percussion seminar class is a weekly studio forum (Friday 12-12:50p.m.), attendance is required of all majors.
  • Curriculum typically includes lectures, discussions, faculty, student, and guest artist performances, master classes and clinics, instrument care, tuning, maintenance, research projects, and studio logistics.
  • Student performances are required at least twice each semester and occur in a masterclass format, i.e. you perform and receive critical feedback from faculty and student colleagues. Repertoire may be derived from private lessons, group lessons, or Dana ensembles. You may also be required to submit written or aural assessments for studio colleagues. Masterclass protocol includes: dress appropriately, bring two copies of your music - one for the instructor and one for your colleagues, number measures at beginning of each system in pencil, video record your performance and the studio's critical feedback, and take notes afterwards. Review your recording and notes prior to your next private lesson.
  • Students develop pedagogical skills by assessing and coaching their colleagues. 2.5: Other course components:
  • Percussion Studio Event Attendance is required for guest artist clinics, masterclasses, concerts, and Percussion Ensemble Concerts. A listing of the required dates is published on the YSU percussion website homepage www.percussion.ysu.edu
  • Rehearsal observation. Faculty may dedicate a portion (one or several) of your private lessons to observing your ensemble rehearsals, as this may be one of the best ways they might diagnose your private lesson needs.
  • Lesson observation. Faculty may assign you private or group lesson observations within the percussion or other Dana studios.
  • Percussion studio instrument and facilities maintenance duties are a necessary part of being a percussion major, are assigned by the faculty, and should be equitably shared.
  • Required advisement meetings.
    o First class day of semester - review your degree progress, registration, and class schedule. o Final exam week advisement meeting with Percussion Coordinator - self and instructor

assessment, review jury committee comments, plan future studies and registrations.
o Schedule a Recital advisement meeting with the Coordinator one semester in advance of the

required degree recital semester course.
o Additional advisement meetings (during office hours) may occur for assistance with

additional private lesson coaching, ensemble parts, registration, orientation, recital preparation, graduate school selection and audition preparation, career guidance, etc.

ARTICLE 3 – CURRICULUM LEVEL DESCRIPTIONS

3.1: Minor level applied lessons – 1500A-5800B. Intended to prepare a student for an entrance audition into the percussion major level, for music education majors pursuing study beyond the Percussion Methods course, for composers wishing to learn about composing for percussion, or music minors enrolled in courses that require minor level study. Permission to register for minor level lessons must be granted by Dr. Schaft and the Dana Director. Dr. Schaft will conduct an audition/interview and afterwards make a recommendation to the Dana

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Youngstown State University Applied Percussion Syllabus Glenn Schaft, DMA Spring 2022, Published 1/10/22

Director. Pending Director approval, the student may register for the recommended course.

3.2-3.6: Major level applied lessons
3.2:
Freshmen Level – 1501, 1502. Develop fundamental skills: general musicianship, and familiarity with

instruments, techniques, and repertoire. Study concepts of practicing, memorization, sound production and technique, instrument and mallet selection, acoustics, tuning, instrument maintenance and repair, rhythm, rudiments, scales and arpeggios, reading music notation, aural skills, musical styles, improvisation, composition, and interpretation. Study beginning/intermediate level methods, etudes, solo, and chamber music repertoire on snare drum, drumset, congas, xylophone, glockenspiel, marimba, vibraphone, timpani, orchestral accessories, and multiple-percussion as appropriate to your chosen degree program and career interests. Prereq: successful entrance audition.

3.3: Sophomore Level – 2601, 2602, 2603, 2604, 2605, 2606 Continued refinement and expansion of freshmen curriculum. Prereq: successful completion of 1500 level.

3.4: Junior Level – 3701, 3702, 3703, 3704, 3705, 3706 Study intermediate/advanced techniques, etudes, methods, solo and chamber music repertoire. Perform junior recital. Prereq: successful completion of 2600 level.

3.5: Senior Level – 4801, 4802, 4803, 4804, 4805, 4806 Study advanced techniques, methods, and etudes, solo and chamber music repertoire. Perform senior recital. Lecture presentation in Percussion Seminar Class. Prereq: successful completion of 3700 level.

3.6: Graduate Level – 6901, 6902, 6903, 6904, 6905, 6906. Study advanced percussion techniques and repertoire pertaining to the student’s career interests and needs. Culminates in the presentation of the graduate recital and scholarly program notes thesis document. Also includes two lecture/performance presentations in Percussion Seminar. The thesis document is due 30 days before the recital hearing date. Prereq: graduate audition.

ARTICLE 4 – MAJOR LEVEL COURSE OBJECTIVES

4.1: The primary goal is to develop knowledge in three interrelated domains: performance and pedagogy concepts and skills, mental/physical/social concepts and skills, and related business concepts and skills. Knowledge, as defined by Alex and David Bennett, “is best understood as the capacity to take effective action, with the recognition that capacity includes both potential and actual ability.” http://www.google.com/search?client=safari&rls=en&q=knowledge+defined+by+alex+and+david+bennett&ie=U TF-8&oe=UTF-8

4.2: Pursuit of article 4.1 domains naturally address the “National Standards For Music Education” established in 1994. My additions to these standards appear in italics; 1-9 below.

  1. Singing, alone and with others, a varied repertoire of music. (Chanting or vocalizing rhythm)
  2. Performing on instruments, alone and with others, a varied repertoire of music. (Creation of

performances via technology)

Improvising melodies, variations, and accompaniments. (Improvising rhythms)

Composing and arranging music within specified guidelines.

Reading and notating music. (using digital and handwritten systems)

Listening to, analyzing, and describing music.

Evaluating music and music performances.

Understanding relationships between music, the other arts, and disciplines outside the arts.

Understanding music in relation to history and culture.

4.3: Domain 1 – Performance and Pedagogy Concepts and Skills.

Develop a deep understanding, via multiple perspectives (see Howard Gardner- http://www.infed.org/thinkers/gardner.htm), of fundamental performance and teaching skills. Experience music through the three primary modes of artistic creation: re-presentation, improvisation, and composition. You and your instructor will establish semester and weekly goals and discuss how to attain these. These typically include:

  • Warm-up concepts, techniques, and methods.
  • Practice concepts, techniques, and methods.
  • Sound production concepts including acoustics and human perception of sound.
  • Kinesthetic movement concepts and techniques across various percussion instruments.
  • Instrumental techniques and versatility–snare drum, keyboards, timpani, drum set, multiple

percussion, orchestral accessories, and ethnic percussion.

Visual, aural, and tactile rhythmic and pitch discrimination skills including relative tempo

memorization, relative pitch memorization, rhythmic microbeat division, interval identification,

harmonic analysis, singing, transcription, and sight-reading.

Musical interpretation. Awareness, understanding, and synthesis of the elements necessary for

informed musical interpretation including historical research, biographical information about the

composer, accurate score realization and analysis, and concepts of musical expression.

Development of listening skills through live and recorded performances and the ability to articulat ely

discuss and write analytically about what you have heard.

Develop familiarity with percussion literature through research including reading, writing, concert or

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Youngstown State University Applied Percussion Syllabus Glenn Schaft, DMA Spring 2022, Published 1/10/22

rehearsal observation, and listening assignments.

  • Develop familiarity with proven pedagogical techniques and methods. May include research and

lesson observation assignments.

Development of improvisation skills.

Development of composition and/or arranging skills.

  1. 4.4:  Domain 2 - Mind/Body Concepts and Skills
    • Develop knowledge of effective lifestyle habits including: sleep requirements, nutrition, breathing, meditation, and physical fitness techniques including stretching/flexibility, warm-up, cardiovascular conditioning, and strength training.
    • Develop the personal/social skills necessary for constructive contributions to our studio and society at large.
    • Develop effective time management skills and research techniques.
    • Develop an understanding of the learning process including critical thinking and problem solving.
  2. 4.5:  Domain 3 - Business Concepts and Skills
    • Develop and maintain a professional portfolio and/or web site that includes relevant career supporting materials, especially for students nearing the end of their degree curriculum.
    • Establish active membership in major professional music organizations Percussive Arts Society, Music Educators National Conference, College Music Society, etc.

ARTICLE 6 – JURY POLICY

6.1: A jury performance is required during finals week for a panel of YSU faculty. Each jury member writes a critique and issues a grade, which are then averaged into a final jury grade by Dr. Schaft. If you do not perform a jury, an “F” is issued. Given a valid excuse, a “PR” will be issued.
6.2: Your instructor(s) will explain jury repertoire requirements in the various course components throughout the semester. If your jury repertoire includes an accompaniment part, it is your responsibility to secure an accompanist. You must perform with your accompanist in at least one lesson and one seminar class before final exams or a jury will not be permitted.

6.3: The jury committee may also use the fall semester juries as auditions, to determine ensemble personnel, placement, and part assignments for the spring semester wind bands, orchestras, and percussion ensemble. In such cases, Dr. Schaft will post a spring semester ensemble personnel assignment chart following the fall jury exams. Ensemble assignments are made via consultation with the ensemble directors.
6.4: Jury Protocol:

Sign-up on the jury list posted on the bulletin board the week before juries.
Complete one jury exam sheet, available from the music office, for each faculty jury member.
Submit two copies of your jury music. Photocopies are permissible provided you own the original. Number

the measures at the beginning of each system in pencil.
Submit your next semester schedule and curriculum guide sheet, completed to date. Dress as you would for any professional audition.
"Thank" the committee at the conclusion of your performance.

ARTICLE 7 – STUDENT RECITALS

7.1: To summarize, the YSU Online Undergraduate Catalog states that each Bachelor of Music degree candidate must present a senior recital; performance majors a one-hour recital, music education majors a half-hour recital, and performance majors must also present a half-hour junior recital. In the music education and recording degrees, a junior recital is not required. These are general DSM degree requirements for instrumentalists and vocalists. Such "degree" recitals require a faculty recital committee of three to assess (pass/fail) the recital hearing.

7.2: I believe, however, that the lesser requirements for a junior music education and recording major are not in your best educational or career interests. Since 1996, I have required each Bachelor of Music major (performance, jazz, education, and recording) to present a junior and senior recital and this policy has been welcomed by our students with excellent results. Further, I believe it my right and duty as a faculty member to maintain academic standards I deem essential, beneficial, and reasonable for each applied percussion course. If you disagree with my academic standards, please discuss your concerns with me as soon as possible and before the final course withdraw date.
7.3: The concept of premeditating or mandating lower musical standards for an education or recording major is a troublesome idea to me, especially as a performing artist and music educator who has performed and recorded much music throughout my career. Although music education and recording majors do receive less credit for their applied courses (taken into consideration as faculty make assignments for lessons, juries, recitals, etc. and repertoire difficulty) I believe that presenting both a junior and senior recital is a central and beneficial experience for any percussionist in Bachelor of Music or Bachelor of Arts degrees whether performance, education, jazz, recording,

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Youngstown State University Applied Percussion Syllabus Glenn Schaft, DMA Spring 2022, Published 1/10/22

or otherwise. I would hope that you would want to perform two recitals of the most challenging music you are capable of presenting and I trust you will be grateful for this opportunity throughout your life, as many of our percussion alumni have confirmed.
7.4: To address the aforementioned course credit differences, I typically adjust/reduce recital duration and repertoire difficulty for music education and recording majors. To eliminate the junior recital entirely eliminates opportunity, whereas reducing the recital duration and repertoire difficulty preserves performance opportunity yet addresses the credit differences; a satisfactory compromise.

7.5: The reasons why music education majors receive less applied semester hour credits have more to do with the University’s necessity to limit the total credit hours for the music education and recording degrees rather than a deliberate attempt to limit a student’s musical achievement.

Some schools address the degree credit issue by offering only half-hour applied lessons to education majors; an idea the Dana faculty has fortunately rejected. Nonetheless, it is peculiar that BM performance, BM recording, BA, and BME majors receive 50’ weekly lessons and a the same 50’ weekly seminar yet there exists a credit discrepancy. I believe this proves my assertion that the reason for the credit discrepancy is to limit degree credit hours. Obviously thinks the Seminar Class a central educational objective. Obviously, it would be more “cost effective” for YSU to offer half-hour lessons and pay faculty less. My recital requirements are an attempt to help you realize your potential in our time together throughout the applied percussion course sequence.

7.6: Percussion Studio Recital Expectations:
Percussion majors enrolled in various BM or BA degrees shall play both a junior and senior recital as part

of these particular courses. No recital for a course shall count for any other course or degree requirement. For example, a junior recital presented as part of 3702 may not count for a 4801 or 4802 course or for a degree senior recital. Each recital shall include approximately 30-60 minutes of music as approved by Dr. Schaft in your Recital Advisement Meeting.

  • Junior recital–required second semester of 3700 level. Juried recital hearing not required.
  • Senior recital–required second semester of 4800 level. Juried recital hearing is required.
  • Graduate MM recital–required fourth semester of applied study. Juried recital hearing is required.
  • Non-degree recitals are permitted pending Dr. Schaft’s approval. Juried recital hearing not required.

7.7: Recital Process Guidelines – includes seven phases that must be completed by the last class day of the semester for a passing grade to be issued.

7.7.1: Recital advisement meeting Schedule with Dr. Schaft at least one semester before the recital applied course. This should occur weeks 1-2 of fall semester for a spring recital. Download/print a copy of the Percussion Recital Form, complete your information, and bring it to this meeting. Dr. Schaft will suggest potential recital and recital hearing dates, repertoire, and sign the form.

7.7.2: Booking a recital date

  • Recitals may occur during weeks 1-15 of the fall or spring semesters. No recitals are permitted

during final exams, YSU observed holidays, breaks, or summer terms. No recital may conflict with a Dana School of Music event unless otherwise approved by Dr. Schaft. Recitals are generally held on weekday (M-Th) evenings 6-8PM. Weekend recitals are typically not permitted due to faculty and student attendance conflicts for gigs, teaching, etc.

After Dr. Schaft signs the Recital Advisement Form, submit it to the CCAC Concert Series Coordinator. They confirm date & venue availability and return the form to Dr. Schaft.

Dr. Schaft will then confirm the date and it is considered “officially booked” once it appears on the Events Calendar (homepage) of percussion.ysu.edu.

7.7.3: Recital hearing. If you are presenting a DSM degree recital (typically a senior recital) that requires a recital committee. A committee of three full-time Dana faculty assesses your repertoire preparation, the printed program, and offer artistic guidance. If a recital hearing is not required, i.e. junior percussion recital or non-degree recital, the percussion coordinator and other percussion faculty may assess the recital readiness in an informal process in private lessons and seminar class. Faculty may use the recital hearing forms to document their approval and process the grading.

  • The recital hearing must occur at least 14 days before the recital. It is your responsibility to contact all committee members and schedule the hearing; Dr. Schaft will recommend hearing dates/times in the recital advisement meeting. This two-week advance time frame allows for any required musical improvements or program note revisions without effecting the recital date, programs, or publicity. If your applied teacher believes that you are not adequately prepared to pass a hearing they may cancel it at any time beforehand or even during the hearing.
  • Hearings are graded (pass=A, B, or C) or (fail=D or F). This grade is factored into the applied percussion course grade.

o Recital Hearing Procedure.

o Materials to be submitted at the hearing:

♣ Percussion Recital Advisement Form. Please use the form on the percussion website;

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Applied Percussion Syllabus Glenn Schaft, DMA Spring 2022, Published 1/10/22

not the Dana Recital Hearing Form.
Recital program (typed and printed). If the committee suggests revisions, you must receive Dr. Schaft’s approval of such corrections before your program is printed. Program should include composer birth and death dates and composition dates.
See
Bakers Dictionary of Music and Musicians and the Harvard Dictionary of Music (Maag Library). Also include program notes, a several paragraph bio, and pertinent studio calendar events (taken from our homepage).
Two copies of repertoire with measures numbered at the beginning of each system. Photocopies are permitted provided you own the original score.
Record the performance portion of the hearing for use with your applied teacher afterwards in lessons.
Following your performance, the committee will confer confidentially and then meet with you to offer pass/fail notification and artistic recommendations. Pending a passing grade, the faculty will sign the Percussion Recital Advisement Form and you may proceed with the publicity and logistics process outlined below. Pending a failing grade, the faculty will recommend a re-hearing date, and hold the Recital Advisement Form until you pass.

7.7.4: Recital publicity. Design recital posters, secure Dr. Schaft’s approval, and post two weeks before the recital. Posters are permitted only on YSU bulletin boards.

o Programs
♣ E-mail your program to CCAC program coordinator, Lori Factor, office adjacent to Bliss

Recital Hall.
♣ She will prepare a draft program and return it to you for proofreading.
♣ Submit your corrections and approval and they will print programs - request 75 in the color

of your choice. Allow at least 10 business days. 7.7.5: Recital production and logistics.

o Arrange to have your recital audio and video recorded. o Logistics.

Secure stage manager/production assistants to handle logistics, lighting, recording, and program distribution. You may choose to provide complimentary refreshments following the recital - parents or relatives may assist with this. Refreshments may be offered in the lobby only.

Schedule rehearsal time in venue to familiarize yourself with logistics and acoustics. Sign-out the room and room key from the music office.

7.7.6: Post-recital logistics
o Within one week after the recital:

Email a pdf format copy of your final Microsoft Word program draft to Dr. Schaft, for inclusion on the website Program Archive.

Submit video recording to Dr. Schaft for instructional purposes. This will be returned to you. Submit a CD copy of the audio recording to Dr. Schaft for the percussion studio library.

Disc should be in a jewel case; both the case and disc labeled with your name, recital, date,

and an attached recital program.
• Submit one copy of your recital program to the Dana Office and ask to have it placed in

your permanent file.
7.7.7: Recital grading. After the above steps are completed, Dr. Schaft will issue a grade for the recital that

is factored into the final course grade. Each recital is graded pass (A, B, or C) or fail (D or F). If the recital is not passed before the last class day of the semester a letter grade of “F” will be issued for the course, except in the case of a valid reason for a PR grade. Any applied course that requires a degree recital cannot be passed without passing the hearing and recital. The recital grade considers the recital hearing performance level and to what degree the performer made the improvements suggested by the hearing committee. If a recital is cancelled due to unforeseen circumstances (performer illness, family emergency, court summons, or a faculty absence) it shall be re - scheduled as soon as possible.

In a course that requires a recital, course components are weighted:

Component Recital =

Total 100%

Percentage 20%
20%
50%

Letter grade/points
A=30-21, B=20-11, C=10-1, D or F = no credit A=30-21, B=20-11, C=10-1, D or F = no credit A=25-22.5, B=22.4-20, C=19.9-17.5, D=17.4-15, A=5-4, B=3.9-3, C=2.9-2, D=1.9-1, F=0.9-0 A=5-4, B=3.9-3, C=2.9-2, D=1.9-1, F=0.9-0 A=5-4, B=3.9-3, C=2.9-2, D=1.9-1, F=0.9-0

Recital hearing =
Private lessons =
Seminar class
Group lessons = Writing/publishing 0%

10% 0%

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ARTICLE 8 – ASSESSMENT AND GRADING

8.1: YSU – YSU/OEA Agreement Article 28.7: Final Grades: The parties agree that the individual faculty member retains the authority to make the final determination of the grade to be awarded to each student in his/her courses. No individual or com mittee shall be authorized to change a grade, except upon the recommendation of the faculty member who awarded the grade...
8.2: Assessment and Grading: First and foremost, assessment and grading are two very different things to me as a musician and teacher. Imagine visiting the Butler Institute of American Art with your Art History class and having to assign a numerical score (i.e. grade/point total) to each of the paintings in one of the galleries. Such scoring is a method used when someone wishes to sort or rank groups of things or people. Alternatively, wouldn’t it be more constructive to analytically describe what you perceive and what each work means to you? Then discuss these ideas with your class colleagues and teacher? We are not paid judges scoring a DCI finals competition to the hundredth decimal point to declare a winner and establish a ranked slate thereafter; rather we are learning how to make music on percussion instruments, i.e. the art of manipulating and organizing sound in an aesthetic manner. This is how
we will approach “assessment” in this class. In this sense, assessment is teaching whereas grading is sorting and ranking. It is often said that assessment should compare you to a set of expectations and not to the performance of other students. This might be advantageous if everyone really learned completely independently, but this (in-my-own-silo) is usually not the reality you will encounter in your classroom or ensemble career. The achievements and lack thereof of each classmate will have profound effects on other classmates. If one sets “exact standards”, these may fall below the achievements of some, be just right for some, and too lofty for others. In any event, it will only be helpful for a minority of the class. This creates a winner/loser culture rather than a culture in which each person strives for their personal best in order to create our collective best. I highly recommend reading John Wooden – Wooden – a short, easy read, written by the famous UCLA basketball coach who stressed individual and team excellence in the midst of the highly competitive winner/loser culture of the NCAA. His teams’ results are to date, unparalleled.

8.3: Grading: In the case of group-based playing–whether ensembles or applied classes–students learn cooperatively and yet individual grading must be performed to satisfy University policies. Ideally, we should work together to determine how your learning must be assessed and ultimately converted to a fair letter grade. You should also learn how to do effective self-assessment, and to this end, you will be asked to recommend your suggested course grade and your justifications for it. As I tell my students, first I have to teach myself how to play before I can teach others how to play. Throughout the semester, students must have myriad opportunities to identify and correct their own errors and those of their colleagues, even though doing so is more time consuming than if their teachers suggested immediate corrections.
8.4: Assessment considers performance assignments and adherence to syllabus policies. Teaching professionally since 1975 has helped me realize that your unwavering presence in class (attendance and punctuality), sustained interest in the subject matter, and learning in general are the most important determinants of your achievement. The majority of your motivation should be intrinsic, (not extrinsically motivated by letter grades) as intrinsic motivation is the best assurance of long-term progress. To that end, I focus on what you must do to reach your potential in this course. I will articulate and demonstrate what, how, and why I think you should learn specific musical techniques and information, i.e. attention to details.
8.5: Conversion of course content to letter grades. I typically do not convert assessment discussions to a verbal letter grade in each class or lesson, rather I focus on the musical functions, so if you wish to know how a particular class or assignment might be graded, please ask. For me, letter grades are an unnecessary abstraction and distraction in the grade conscious society and institutions we inhabit, but since YSU’s policy it is to issue letter grades, I hope to honor this requirement in the least intrusive manner possible. We have at our disposal, articulate, direct, and highly beneficial ways we can assess your progress, primarily via immediate analytical faculty and colleague feedback, video recordings, etc. so we will focus on those direct and positive techniques. If we all work toward this collaborative goal, I see no reason why we can’t go the entire semester without ever discussing your grade; you begin with an “A” in my mind and ultimately receive an “A” class grade at the end. But failure to attend, do the work, practice, etc. obviously should reduce your grade accordingly.
8.6: Musical expression. Since effective musical expression has so much to do with one’s personality and ability to effectively express emotion, I have included descriptions of attitudes and behaviors that typically correlate with each abstract letter grade. Clearly, trying to assign letter grades to emotions and behaviors is subjective business, so either the teacher and student avoid such subject matter altogether and merely address technical mechanics–course content that is more easily “objectively letter graded” (unfortunately such objective content is often the least important material)–or they embrace this inherent subjectivity – which I find a central and indispensable element
of music making and artistic actions in general. Interestingly, it is not the content of musical expression that is difficult or subjective to assess, rather it is made more subjective and difficult to assess when letter grades enter the equation. In summary, when one minimizes or eliminates letter grading, musical expression can be effectively addressed and assessed.
8.7: Diagnostic Assessment. Private lesson assessment should compare you to a set of faculty expectations and these must be mutually understood and documented by you and your instructor. Faculty must perform a beginning of the semester diagnostic assessment of your musical aptitude and achievement-to-date in order to determine what constitutes a reasonable course of study and anticipated progress throughout the semester. Since this applied course component is a one-on-one student/faculty, master/apprentice relationship, course content obviously differs between students; for if it did not, it would be impossible to justify the rationale for private instruction.

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Youngstown State University Applied Percussion Syllabus Glenn Schaft, DMA Spring 2022, Published 1/10/22

8.8: Group Lesson and Seminar Grading. Here you learn cooperatively and yet individual assessment must be performed to satisfy University grading policies.
8.9: Grading Scale – The Dana School of Music grading policy states you must receive a “C” or higher in each course for it to count toward your degree program.

o Grade A, 90-100% – includes: superior attendance, superior achievement of weekly and semester goals, consistent positive attitude, and a complete commitment to attaining your potential. You love what you do and it shows through your passion, dedication, and achievement.

o Grade B, 80-89% – Slightly less than letter grade “A” above.
o Grade C, 70-79% – May include flawed attendance, partial achievement of weekly or semester goals,

inconsistent attitude or progress, and/or a partial commitment to attaining your potential. Your

passion, dedication, and achievement are questionable or inconsistent, and it shows.
o Grade D, 60-69% – May include flawed attendance, partial achievement of weekly or semester goals,

inconsistent attitude, or a partial commitment to attaining your potential. Your passion, dedication, and

achievement are often questionable and it shows.
o Grade F, 0-59% – May include significant disregard for any of the above; in short, a minimal

achievement of your potential.
o Grades of “incomplete” or “PR”: See the YSU Bulletin “Grading System”. The only valid reason for

an incomplete, or PR grade, is for a medical or other reason so extreme as to cause you to be unable to complete the course. You must be passing the course at the time of your request and demonstrate that the circumstances requiring the “PR” are beyond your control.

8.10: Late assignments may require grade reductions appropriate to the nature of the situation.
8.11: Academic Dishonesty - see YSU Bulletin, regarding plagiarism and dishonesty. As outlined in The Student Code of Conduct, all forms ofacademic dishonesty are prohibited at Youngstown State. This includes plagiarism, the unauthorized use oftools or notes in taking tests or completing assignments, fabrication ofdata or information used for an assignment, working with others without permission from the instructor, and more. A student who is believed to have violated the academic integrity policy will meet with the instructor to discuss the allegations. The student may accept responsibility for the violation and any sanctions selected by the instructor, or they have the right to ask for a hearing before a hearing panel. The full Academic Integrity policy can be found in Article III. 1. of The Student Code of Conduct, while further information on University procedures for alleged academic integrity violations can be found in Article V.
8.12: Written assignments.

Computer printouts must be legible.
All work should be proofread for typographical, spelling, documentation, and grammatical errors. Any assignment having excessive errors is reduced in grade accordingly.
Assignments must be organized in your portfolio.
Reference materials should follow the
Chicago Manual of Style.

8.13: Grading criteria and weighting — 100 points for the course, distributed as:

Component
o Private Lessons

o Jury Exam
o Group Lessons o Seminar Class

Percentage Letter grade/points
60% A=60-54, B=53-48, C=47-42, D=41-36, F=35-0 30% A=30-27, B=26-24, C=23-21, D=20-18, F=17-0 5% A=5, B=4, C=3, D=2, F=1-0
5% A=5, B=4, C=3, D=2, F=1-0

8.14: Performance component includes private lessons, group lessons, seminar classes, degree and non-degree recitals, recital hearings, auditions, juries, and research and listening assignments. Your achievement is primarily determined by your mental/physical habits and dedication to a consistent and intelligent practice, research, and study schedule.

Related assignments may include reading, research, viewing videos, concert critiques, listening, composition/arranging, notation, etc. Such assignments are intended to help you develop the perspective and knowledge necessary to become an effective performing artist, pedagogue, and scholar.

Your instructor may assign composition projects to encourage engagement in analytical and creative means for addressing individual technical and musical needs.

o Notation should be completed via legible hand-written notation or digital notation software.
o First-draft is assessed and revisions may be required.
o Final draft will be assessed for legibility, accuracy, and may be performed in lessons, seminar, or juries.

In addition, maintain a portfolio (three-ring binder) that contains:
o YSU Curriculum Guide. Revised to date, in pencil. Available in the CCAC Dean’s Office, CCAC

website, and our percussion site curriculum tab.
o Copy of all programs in which you performed, arranged in reverse chronological order. o Compact disc copy of your recital, if a recital was required that semester.

8.15: Practice Expectations: The “required” minimum practice times listed in the YSU Catalog: one semester-hour course requires 1 hour daily, two and three semester hour courses require 2 hours daily, four semester-hour course requires 3 hours daily.

I believe it unfair to assess based on a “required” amount of time or "effort" you presumably expended. If everyone learned the same things, at the same rate, within the same time frame, then "time or effort expended" based assessment might be justified, but this is clearly not true. Further, how can any faculty member accurately determine how much student practice actually occurred? Even if they could, how or why would it justify a grade?

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Youngstown State University Applied Percussion Syllabus Glenn Schaft, DMA

Spring 2022, Published 1/10/22

What if the majority of such practicing was ineffective? Clearly the amount of practice is merely a guide toward an adequate or effective work ethic recommendation rather than an assessment of its effectiveness. Rather I grade your actual achievement.

To me, a more realistic and helpful approach is to simply “recommend” practice averages, to convey approximately how much efficient practice time must typically be devoted by students in order to pass the various applied percussion courses. In other words, I am merely trying to help you understand what time commitment must be dedicated in order to be successful. If you can accomplish the necessities in less time that is terrific, if not, then work as hard as you can and do not be deterred. If you plan to gain acceptance to major graduate schools or cultivate a professional performance career, such minimums or averages are likely insufficient; rather a 4 to 6-hour daily minimum is likely far more realistic, regardless of your chosen degree program. In any case, a daily practice regimen is expected and necessary to adequately prepare each week’s lesson assignments varies. Part of daily practice includes a warm-up before each private lesson or Seminar performance. In addition, a brief daily stretching session is beneficial, especially after finishing.

I recommend the following practice averages:

o 1 SH course
o 2-3 SH course o 4 SH course

2 hours daily 3 hours daily 4 hours daily

14 hours weekly 21 hours weekly 28 hours weekly

210 hours per semester 315 hours per semester 420 hours per semester

8.16: Attendance is required at private lessons, group lessons, seminar class, and other studio events including Percussion Ensemble performances, faculty and student percussion recitals, percussion performances at Dana Convocations, and percussion guest artist events. Your presence is necessary to fully realize the community of learners and collaborative nature of this course. The percussion studio events calendar is published on the percussion website and is updated with the revision date posted. Percussion ensemble concerts are listed no later than week one fall semester. Student recitals and guest artist events are scheduled throughout the year and are published immediately on the website. If you notice a schedule conflict, regardless of how far in-advance, immediately notify Dr. Schaft as directed below.

Your presence is necessary to fully realize the community of learners and collaborative nature of this course. Therefore, attendance is expected at all class periods during the entirety of the period (punctuality) due to the predominant playing and group learning environment; in other words, this is an “applied class” i.e. MUAC. It will be treated like a professional ensemble rehearsal, performance, or masterclass. No credit is given for attending but deductions will be assessed for unexcused absence or tardy. For example, if my contracted waste disposal company person visits my curb but does not remove the trash and merely departs, they get no credit for attending; but I will call, complain, and try to pro-rate their monthly fee.

  1. Class will involve group playing, pedagogy, and ensemble type activities. Such learning necessarily diminishes for those present if others are absent. Thereafter, all students may suffer diminished learning due to the missed information and lesser skills of the few who were previously absent–a negative chain reaction.
  2. Any class (or portion thereof) you have a potential conflict with or miss, must be documented by an email to Dr. Schaft as soon as you realize the issue. Use standard memo format: to, from, date, description of the event, and explain why you were or anticipate being absent. Dr. Schaft will reply asap to indicate if your request is excused or unexcused. Any un-documented absence is deemed unexcused.
  3. In the event of a true emergency (i.e., death of an immediate family member, accident, or serious illness) email me before class if at all possible. If that is not possible, as a last resort use text or voicemail.
  4. Each unexcused absence will result in a grade reduction base on a percentage of the total number of private, group, and seminar lessons provided each semester.
  5. Excused absences will be granted for:
    1. Death in the immediate family.
    2. Special event (tour, field trip, conference, etc.) related to academic work required as part of a YSU academic

department course in which you are enrolled. Submit a memo from the sponsoring professor.

Documented court summons. Submit a copy of the summons.

Absences due to serious illness and documented by a letter from a certified medical practitioner will be

considered in light of your attendance history. In many cases, an excused absence is granted. A minor cold or accepting a gig is not justification for an excused absence.

ARTICLE 9 – GENERAL INFORMATION, UNIVERSITY POLICIES, GEAR POLICY,ETC.:

9.1: Correspondence: YSU Percussion Web Site: percussion.ysu.edu Contains YSU percussion events schedule, syllabi, studio weekly Seminar class and PE rehearsal schedule, faculty schedule, practice room schedule, studio personnel and contact list, alumni news, testimonials, guest artist archive, percussion ensemble and student recital program archives, curricular downloads, info about our recordings, links to percussion organizations, referrals for teachers, and other valuable information.
9.2: Loaned items from faculty must be returned as requested in their original condition. You must replace any lost or damaged items.
9.3: Professional Affiliations - I encourage you to maintain a Percussive Arts Society (PAS) membership

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Youngstown State University Applied Percussion Syllabus Glenn Schaft, DMA Spring 2022, Published 1/10/22

and attend the annual PASIC conventions, during which no YSU percussion events are scheduled. www.pas.org 9.4: Percussion Ensemble enrollment: MUEN 0009 is expected concurrent with each semester of major level Applied Percussion unless Dr. Schaft advises you otherwise.
9.5: Other Dana Ensembles: Ensemble personnel assignments are determined by factors including: audition placement results, faculty assignments of ensemble personnel, ensemble personnel needs, your degree program requirement, relevant ensemble experiences, your preferences and availability.

9.6: University policies can be found online and provide you guidance on your rights as a student in this course.

  • Statement of Non-Discrimination from the University
  • Academic Integrity/Honesty
  • Student Accessibility
  • Incomplete Grade Policy
  • Classroom Safety and Health Protocols
  • The Student One Stop is an enrollment resource on campus established to help students manage their

academic record and accounts. Please visit the Student One Stop (2nd floor Meshel Hall), (330) 941-6000,

onestop@ysu.edu. for assistance with financial aid, records, registration, tuition charges/billing.

Honors Contract: . Find out more about Honors Contracts

YSU is committed to your success. As a student you have access to several resources that may be instrumental in

helping you succeed in this course. Please do not hesitate to utilize any of these free support services to support your academic success, physical and mental health, and help you navigate your time as a YSU student.

9.7: Facilities, Gear, and Logistics:

  • Percussion Lockers - each major should sign-out a large locker (pad lock included), located in the percussion hallway between my office and room 2240 (Bliss Hall second floor), for the school year. Normally, YSU charges a $25 locker rental fee, but since you already pay a $65 applied percussion course fee intended to support percussion instrument and facility needs, we waive the $25 fee.
  • Keys - Sign-out keys 5607 (opens all six of our third-floor practice rooms-3001, 3112, 3113, 4114, 3115, 3116) and 5732 (opens second floor 2232 storage and 2240 rehearsal/practice) from our Admin Assistant in the Dana office. You must be registered for applied percussion to receive keys. Keys may be kept during the summer and over other university breaks provided you are registered for applied percussion and Percussion Ensemble the following semester.
  • Drumsets and other personal gear - Please notify me if you would like to house a drumset (or other gear (excluding snare drum and pad) in one of our practice rooms throughout the semester. After I know everyone's requests I will design a plan.
  • Bliss Hall Percussion Instrument and Facilities Maintenance Policy - Overview
    1. 1)  All instruments and facilities are to be treated with the utmost care and respect. Facilities and gear that

are well maintained, clean, and well organized are indicative of professionalism, pride, and mutual respect. Equipment abuse or messy facilities are not tolerated. Violators will face verbal warnings, grading penalties, fines, and/or expulsion from the studio. Theft is grounds for immediate expulsion and university legal action.

2)  In order to encourage pride of ownership and to efficiently and equitably maintain our collective property, each percussion major shares in studio maintenance duties at Dr. Schaft’s discretion. Please anticipate repair and maintenance concerns and notify the Graduate Assistant in writing, so that adequate time is available to secure the necessary supplies and complete the work.

3)  Lock the rooms whenever leaving them. Personal items will be removed from the rooms as YSU lockers are available for such items.

Bliss Hall Percussion Facilities Organization

  1. 1)  2234 - Studio A Dr. Schaft’s Studio. Faculty or staff may be issued a key to this room at Dr. Schaft’s

discretion. Because much of the gear is personal, I am obviously concerned about security and wear/tear. It must be locked anytime you leave the room. Turn off lights. Use only YSU ceiling lights. No food or drinks, except bottled water. Do not use audio/visual gear or computer without my permission. Do not adjust anything on the drumsets. Re-position all gear as you found it. No wood timpani mallets, plastic xylophone mallets, or hard marimba mallets.

2)  2240 - Studio B Adjunct teaching, practice, PE rehearsal, storage. Priority use order: faculty/staff teaching, percussion ensemble rehearsals, graduate student practice - multiple perc, timpani, 5 octave marimba, undergraduate student practice. Dr. Schaft stores personal gear in the north wall cabinets which are labeled "GS"; please do not touch these. The music stands, tables, and chairs are for use in this room only.

3)  2232 - Percussion Instrument and PE music storage. 11

Youngstown State University Applied Percussion Syllabus Glenn Schaft, DMA Spring 2022, Published 1/10/22

  1. 4)  2032 - Band Library; also houses some PE storage.
  2. 5)  2326 - Ensemble rehearsal room. Keep all instruments in their designated places. In order to provide

an appropriate practice space, instruments, and acoustical environment for percussion chamber ensembles, large multiple percussion set-ups, and timpani practice, the Dana Director and I have agreed to allow the room to be signed-out for percussion practice. The Dana Office manages a Room Schedule Sign-Out Book. Room usage priority is scheduled classes, signed-out chamber groups, multiple percussion, and timpani practice. If there is no booking for these, then you may practice as desired.

6)  2222 – Recording Studio, Jazz Studies, drumset practice. Tama Starclassic drumset is property of the Jazz Studies Division and is not to be removed without permission from the Percussion Coordinator.

7)  Third floor practice rooms: six locked percussion practice rooms along the east wall of Bliss Hall - 3112-A, 3113-B, 311-C4, 3115-D, 3116-E, 3001-F

  • Practice room sign-out policy: Schedules, valid for the entire semester by the Percussion Coordinator. Please contact him to sign-out times during Covid. If your schedule changes, notify the work study assistant immediately of any unused times. If you do not arrive within 10 minutes of your scheduled time, the room becomes first- come, first-served.
  • Drum set practice policy: Drumset may be practiced in 2222, 2240, 2326, or the third-floor practice rooms. Drumset majors and those enrolled in Dana big band and combo courses are granted first priority. If you are a commuter, practice drumset at your home as that will significantly reduce the demand on our facilities and help free-up practice time for resident students, who obviously must practice on-campus. Sign-out drumset practice times in 2326 “ensemble rehearsal room” or 2222 “recording studio” through the music office.
  • Instrument Care Guidelines
    1. 1)  Congas & Bongos. Natural skin-heads should be loosened after playing to avoid damage.
    2. 2)  Concert Snare Drums. Do not adjust tuning unless you have section leader approval. Avoid adjusting

snares on Pearl Philharmonic drums until you have read the tuning article on the Pearl/Adams

website.

3)  Concert Bass Drums. Loosen both wing-nuts before re-positioning the stand to avoid stripping

threads.

4)  Timpani. Tune drum in opposite pairs and turn each lug a small amount rather than only turning

several lugs (which destroys the tuning symmetry). No uncovered wood mallets without faculty

permission.

5)  Drum must be covered when not in use. Never set anything on the heads. Clean heads with cloth

before and after playing. Do not adjust tension rods without proper training from the faculty. Bare wood timpani mallets are prohibited without Dr. Schafts’ permission, regardless of "what your part says" or what your ensemble director says. Forceful playing with any mallet may damage the heads if the proper stroke is not utilized. If you receive conflicting advice from your ensemble director see Dr. Schaft before using questionable mallets or excessive force levels. The solution is not always for you to play louder with harder mallets, often it's to get the ensemble to play softer.

6)  Wood Temple Blocks and wood blocks. Only use soft rubber, med-soft yarn or cord mallets.

7)  Keyboards.

8)  Keyboard Mallets. Every keyboard should be covered when not in use. Do not place covers on the

floor, rather, fold them interior inside. Do not touch the bars or use instruments as tables. In transport, lift frame over uneven surfaces. For rosewood bars you must own and use appropriate mallets - no exceptions. If your conductor requests volumes, force levels, or mallets that might damage an instrument, explain you are using the hardest mallet your teacher permits. If they persist, notify me and change to a synthetic bar instrument.

9)  Rosewood Marimbas. Hard mallets may damage (crack) the bars, especially in the low register. If in question, do not use a mallet until approved by faculty. If you crack a bar you are responsible for its replacement. Mike Balter “green mallets” or similar hardness models should not be used without faculty permission.

10)  Rosewood Xylophones. Use extreme care in mallet selection as any rubber or plastic mallet harder than Malletech model #36 will dent rosewood bars. Never use a hard-plastic mallet on rosewood. Rosewood mallets and the Grover model 4 poly-ball and the Freer xylo mallets are acceptable.

11)  Cartage fees. You should request a “cartage” fee from your employer for moving large equipment. Cartage is a standard reimbursement to compensate time and labor. The American Federation of Musicians (AFM) locals usually include lists of instruments for which you should receive cartage, including the fee schedule. For example, to move several timpani, a reasonable fee might be $35.00- 60.00. Many orchestras have cartage conditions and terms in their contracts.

ARTICLE 10 – COURSE ETIQUETTE:

In order to provide an optimal environment to meet the course objectives, you must comply with the following policies: 10.1: Attentiveness: If you fall asleep you will be dismissed and an unexcused absence will be recorded. There is a nearby

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Youngstown State University Applied Percussion Syllabus Glenn Schaft, DMA Spring 2022, Published 1/10/22

student lounge or a Double Tree hotel several blocks south on Wick Ave. if you need to sleep.
10.2: Electronic Devices: distractions (to you or your classmates) such as cell phones and smart watches are to be silenced and put away during class. Please bring them however, as your teacher may ask you to look-up some information, photograph something, or video record a lesson or performance.
10.3: Headphones/earbuds - remove and put away before class begins.
10.4: Be courteous and respectful of your classmates and instructor at all times.
10.5: Notebook and tablet computers are allowed for note-taking, but not for distractions-surfing the web, email, etc. 10.6: Each interruption counts as 1/2 absence. Notify me before class if you are expecting an emergency call and we will arrange to have you leave to minimize any distraction. I reserve the right to remove you from class if your phone/tablet becomes a distraction.
10.7: Clothing: questionable, lewd, or other inappropriate or impractical attire is not acceptable. Violations will result in dismissal and an unexcused absence. Because of the physical/athletic nature of playing percussion instruments, I recommend comfortable slacks and a loose-fitting shirt in which you feel comfortable playing music and doing exercises and stretches. Skirts, dresses, high-heel shoes, or tight/restrictive clothing are inappropriate. Brimmed hats are not permitted as this allows me to see your face to identify you, determine how you are absorbing class material, and will facilitate open communication with your classmates.
10.8: Jewelry: Remove any jewelry on your arms and wrists including watches, bracelets, wristbands, and rings; common problems are jewelry noise, scraping or damaging instruments, impeding motion, and creating asymmetry between the hands.
10.9: Food and beverages (other than bottled or closed-container) are not permitted in percussion facilities, so please use the tables in the main Bliss hallway or the Student Lounge for your dining, nutrition, and hydration activities.

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    ADA Compliance                                                                                                          Glenn Schaft © 2008-2015