Please visit your new updated site!

Student Resources site









The "Wall of Forms"

Forms normally found within the Music office can be found here.

The Wall of Forms

Recording Request

Had an event you would like to hear again? You may contact the recording booth personnel directly to request a recording  via the link below.

Request a recording

Program Maps

Program maps are intended to give you an overview of the program you are currently on - or show you options within the Music department. You may view them via the link below.

Program Maps


Undergraduate Students
The Department of Music's Undergraduate Program Guidebook is an information resource for current University of West Georgia students. The guidebook articulates certain specific requirements, policies, stipulations, and procedures pertaining to the various programs, emphases, options, and courses in music and to the functioning of the Department of Music. Some information may not appear in the University Catalogs, but is nevertheless applicable regardless of the student's catalog year. Refer to the various course syllabi for more specific information.

Undergraduate Guidebook

  • Student Convocations: Comprehensive Music Laboratory (MUSC 1000)

    Student convocations, recital hours, lab ensembles, and studio classes are held at the scheduled class time for MUSC 1000 Comprehensive Music Laboratory. All Music majors gain solo performance experience throughout their programs by performing in recital hours. See below for the minimum number of required solo performances specific to your major. Students may apply to appear on one of the student recital hours by completing a Recital Hour Performance Application in the Department of Music Office (HUM 105) or online via the student resources page (winds, percussion, and voice only). Music majors receive recital credits for attendance at approved concerts and recitals.

    MUSC 1000 Comprehensive Music Laboratory is a required 0-credit course for which the student receives a grade of S (Satisfactory) or U (Unsatisfactory) based on attendance and participation. Students attend formal musical performances and participate in studio classes and ensemble laboratories at least one hour per week as specified by the Department of Music. Music majors enroll in MUSC 1000 each fall and spring semester until they have earned 6 grades of S. Transfer students may count equivalent credits earned at other institutions as approved by the Department Chair. Music minors enroll until they have until they have earned 2 grades of S.

    The purposes of Comprehensive Music Laboratory (MUSC 1000) are to:

    • ensure that all music students are exposed to a wide variety of repertoire in live performances,
    • provide opportunities to apply skills, techniques, and methods needed to play, sing, conduct, and teach music, and
    • provide students with opportunities to enhance their learning in the principal-applied area.

    The MUSC 1000 attendance policy requires that students attend a specified number of concerts and recitals events each semester. For Studio Class and Laboratory Ensemble attendance, a total of more than two (2) absences will result in a grade of U for the course. Missing a Studio Class or a Laboratory Ensemble because of another activity required by the Department of Music is not considered an absence from MUSC 1000.

  • Common Body of Knowledge and Skills

    Bachelor of Music degree-seeking students attain knowledge and skills competencies that enable them to become successful performers, composers, and teachers. These areas of competency are grouped into the following general areas described below, and in more detail by degree concentration and principal applied area.


    All students develop technical skills requisite for artistic self-expression in a principal applied performance area at a level appropriate for the particular music concentration. Through applied music study and pedagogy and literature classes, students develop an overview understanding of the repertory in their major performance area and the ability to perform from a cross-section of that repertory. Students develop sight-reading fluency and general musicianship skills in singing and piano, and an advanced level of these competencies in their principal applied area. Students develop skills in leading, collaborating with, and conducting others, and the knowledge to interpret appropriate musical styles. All students attain a proscribed level of keyboard proficiency. Through continued participation in large and small ensembles, students develop artistry, technical skills, collaborative competence, and knowledge of repertoire. Principal Applied studies and ensemble participation continue throughout the various degree programs as described below.

    Musicianship Skills and Analysis

    Through courses in Music Theory and Aural Skills, students gain an understanding of the common elements and organizational patterns of music and their interaction, the ability to employ this understanding in aural, verbal, and visual analyses, and the ability to take aural dictation. Through courses in Music Theory, Western Music, and World Music, students develop the ability to place music in historical, cultural, and stylistic contexts, and attain sufficient understanding of musical form and structures to apply this knowledge to compose, perform, analyze, engage in research, and/or teach others as appropriate to their degree concentrations.


    Through classes in Music Theory, Composition and Improvisation, and Orchestration and Arranging, students develop the skills to create original compositions and arrangements. Through various composition-based activities, students create original compositions or improvisations, variations or improvisations on existing materials, experiment with various sound sources, and manipulate the common elements in non-traditional ways.

    History and Repertory

    Through classes in Western Music and World Music, students acquire basic knowledge of music history and repertories from antiquity through the present time, including study and experience of musical language, being able to describe musical styles, cultural contexts, composers, and to think critically and write about these musics from throughout Western music history and the broader world.


    By the end of undergraduate study, students demonstrate the ability to combine their capabilities in the above areas to solve musical problems appropriate to their degree concentrations.


    Principal Applied Study by Degree Concentrations

    All students develop technical skills requisite for artistic self-expression on a single principal applied instrument or voice. Students take private studio instruction for one hour each week, and are expected to practice at least one hour daily per credit hour. Repertoire studied is representative of the body of literature for the specific instrument, with an increasing level of difficulty and complexity at least minimally appropriate to the concentration and sufficient to challenge the capabilities of the student.

    For the first four semesters, students register for lower-division principal applied (MUSC 2600) until the required number of hours are attained (Performance: 8 hours; Music Education and Composition: 6 hours). Students are encouraged to gain solo performing experience, and are required to perform on student recital hours at least once per year (in addition to degree recitals) as follows: Performance: once freshman year, twice sophomore year, and three times the junior and senior years; Music Education and Composition: once per year of principal applied study.

    Juries and Degree Recitals

    A jury is held at the end of each semester, in which students perform for a panel of faculty who select a sampling of the repertoire studied and provide written comments. Juries for instrumentalists also include the performance of scales. Students are responsible for scheduling their own jury examination(s). The jury-examination schedules are posted one week before final examinations begin. If applicable, students are advised to have accompaniment for solo literature. It is the student's responsibility to secure an accompanist at least three weeks prior to the jury time and to schedule a minimum of two rehearsals. The applied instructor should be present at the rehearsals.

    The fourth-semester jury is a more exhaustive level-change exam, with an additional panelist from a non-allied instrument. For the level-change exam, vocalists perform all repertoire studied that semester, including pieces in English, Italian, German, and French. In addition to their repertoire, Instrumentalists perform all major and minor scales, and arpeggios. A majority of the jury panel must approve of the performance level in order for the student to advance to upper-division (MUSC 4600) principal applied study. Students who do not pass the level-change exam during the fourth semester of study are allowed to study lower-division applied for one additional semester. If the level-change exam is not passed after an additional semester of study, the student may not register for additional applied lessons required for completion of a degree program. If a student later demonstrates the ability to pass the level-change exam, an exam may be scheduled during a subsequent jury period.

    Following the successful completion of the level-change, students register for upper-division principal applied (MUSC 4600) until the required number of hours are attained (Performance: 10 hours over four semesters; Music Education: 6 hours over three semesters; and Composition: 4 hours over two semesters).

    Performance majors perform a Half Recital (20-30 minutes of music), normally in the second semester of upper-division study, and a Full Recital (40-60 minutes of music) during the fourth semester of applied study. All recitals must pass a hearing before a panel of faculty at least two calendar weeks prior to the proposed recital date. The majority of the panel must concur that the performance is ready at the time of the hearing in order for the recital to be scheduled. Hearings that do not pass may be re-heard during the subsequent semester. Exception: pianists deemed ready by the principal applied instructor may attempt their Half Recital hearing as early as the level-change exam. If passed, the recital may be presented during the first semester of upper-division applied study. Programs that include ensemble music must be approved by the hearing committee. Likewise, recitals that exceed 30 minutes of music (Half Recitals) or 60 minutes (Full Recitals) must be approved by the hearing committee.

    Music Education majors perform a Half Recital during the final semester of applied study. Alternatively, Music Education majors may perform a minimum 15-minute hearing in lieu of recital. In either case, hearing requirements are the same as for Performance majors.

    Composition majors are not required to perform a hearing or recital on the principal applied instrument. Rather, Composition majors will present both Half and Full Composition Recitals (see below).

    Repertoire Requirements by Instrument


    Applied Repertoire – Piano

    Repertoire is determined by the student and the professor to fit the individual student's growth and interests.  During the academic year one piece from each of the four standard periods should be learned. Assigned repertoire and technique level is adjusted to fit the varying needs of students, and to create progressive advancement in level. Ability to read the score and learn pitch and rhythm accurately and independently, rather than copying the work of others, is an important factor in repertoire choice and the development of creative and unique artistry.

    Level Change Requirements – Piano

    Technical exercises will include: all major, and harmonic and melodic minors scales; major triad arpeggios and inversions, C through F; minor triad arpeggios and inversions, F# through B, and dominant seventh arpeggios and inversions, F# through B. These exercises must be performed at a steady tempo for 4 octaves, with a crescendo ascending and decrescendo descending. The exercises will be performed in ascending chromatic order, starting and stopping as requested by the committee.

    Half and Full Recital Repertoire – Piano

    Repertoire must be approved by applied instructor and will include one memorized piece from each of four style periods: Baroque, Classic, Romantic, and Modern. Approved music scores must be purchased and brought to the hearing. 

    Pedagogy and Literature – Piano

    Piano Performance majors take two classes in Keyboard Literature, two classes in Collaborative Keyboard Skills, and at least the first two classes in a four-class sequence of Piano Pedagogy. Students electing the Emphasis in Piano Pedagogy take all four Pedagogy classes.


    Applied Repertoire – Voice

    Students will sing art songs/arias from the standard repertoire. The repertoire requirements are based on course level and semesters studied. Repertoire will include songs in Italian and English. Subsequent semesters of study will also include songs in German, French, and any other language deemed necessary by the instructor. All songs must be memorized. Students will be evaluated on technical skills such as breath/alignment, resonance, and language proficiency as well as their expressive artistry.

    Level Change Requirements – Voice

    Students will sing 5 art songs/arias from the standard repertoire. This standard includes songs in Italian, German, French, and English. All songs must be memorized. Students will be evaluated on technical skills such as breath/alignment, resonance, and language proficiency as well as their expressive artistry. Students going through a Level Change will have a three faculty member committee present at their jury.

    Half and Full Recitals – Voice

    Students will perform 20-40 minutes (Half Recital) or 40-60 (Full Recital) minutes of music from the standard repertoire. This standard repertoire includes songs and arias in Italian, French, German, English, and other languages as deemed necessary by the instructor. Students must show that they have memorized their music and are ready to perform a recital that shows a high level of artistic and technical skills at a hearing with three faculty committee members at least two weeks prior to the recital date.

    Studio Class for Applied Voice

    Applied Voice students will be expected to perform on a voice Studio Class at least once a semester. Each student will be prepared to sing a song from the semester's assigned repertoire in front of the class and workshop their performance with instructors or guest artists.


    In addition to the study of diction is applied voice lessons, all voice principals take a diction class that studies the fundamentals of Italian, German, and French languages as used in song.  Students learn the International Phonetic Alphabet (IPA) and its application to English and foreign languages. Students demonstrate their knowledge through written examination, speaking, and singing. Vocal performance majors are also required to take a Foreign Language course in Italian, French, or German.

    Vocal Pedagogy and Song Literature

    Vocal Performance majors take a pedagogy and literature course that helps students become fluent in their knowledge of the function and anatomy of the vocal mechanism and to begin to establish ideal guidelines for teaching voice to singers of all types and ages. In addition, students are be exposed to a board spectrum of classical song literature from the British, German, French, and American song repertoire.


    Applied Repertoire – Woodwinds

    Students will perform works from the standard and contemporary repertoire. The repertoire requirements are based on course level and semesters studied. Repertoire, especially for saxophonists, may include transcriptions of works from the Baroque, Classical, and Romantic periods. Flute, oboe, clarinet, and bassoon students are encouraged to perform music from all style periods. Repertoire should be chosen to create a logical sequence of increasing musical and technical demands and to explore a variety of style periods. Students will be evaluated on tone quality, intonation, technical proficiency, rhythmic accuracy, dynamic range, stylistic accuracy, and expression.

    Level Change Requirements – Woodwinds

    Students will perform two pieces or movements from contrasting style periods (Baroque-Contemporary, etc.). Students are also required to perform all major, harmonic minor and melodic minor scales and arpeggios. Scales and arpeggios must be performed from memory. The range of scales and arpeggios must be performed in a format that covers as much of the total range of the instrument as possible at a minimum speed of sixteenth notes at quarter note equaling 72 beats per minute. In addition to the level change jury sheet, each woodwind student attempting a level change jury must provide the faculty with a check-off sheet for the scales and arpeggios. Students going through a Level Change will have a three-faculty member committee present at their jury. Students will be evaluated on tone quality, intonation, technical proficiency, rhythmic accuracy, dynamic range, stylistic accuracy, and expression.

    Half and Full Recitals – Woodwinds

    Students will perform 20-40 minutes (Half Recital) or 40-60 (Full Recital) minutes of music from the standard and contemporary repertoire. Repertoire selection should be a collaborative process involving both the student and the instructor. Students must demonstrate that they are ready to perform the recital program that shows a high level of artistic and technical skill at a hearing with a committee of three faculty members at least two weeks prior to the recital date.

    Studio Class for Woodwinds

    Applied Woodwind students are encouraged to perform on each studio class of the semester. Students may perform repertoire, etudes, or scales in studio class. Students preparing for the level change jury or with an upcoming recital are especially encouraged to take advantage of the opportunity to perform for a live audience provided in the studio class format. Studio classes also include presentation of significant woodwind literature (solo, chamber, symphonic) by the instructor and discussion of performance issues related to the woodwind family.

    Instrumental Pedagogy and Literature for Woodwinds, Brass, and Percussion

    All Woodwind and Brass Performance majors take a course in Instrumental Pedagogy and Literature that focuses on instrumental teaching methods and materials, accompanied by a survey of standard literature for wind and percussion instruments. Study focuses on pedagogy for a variety of age groups and ability levels as well as the entrepreneurial skills necessary to maintain a private studio.


    Applied Repertoire – Brass

    Literature is selected from the appropriate body of repertoire of the student’s instrument as determined by their applied teacher. Students are evaluated by the faculty from the areas of tone quality, technique, and musicianship. 2600-level brass students are also required to play scales/arpeggios on their juries during the first three semesters leading up to the level change scale exam in the 4th semester.

    Level Change Requirements – Brass

    Level-change repertoire includes two contrasting pieces from the repertoire of the instrument as selected by the applied teacher (or one if contrasting sections exist) and a scale exam. The scale exam consists of all 48 major and minor scales and arpeggios, two octaves. The scale exam can be attempted in the 3rd semester and passed off if the faculty deem them satisfactory.

    Half and Full Recitals – Brass

    Students will perform at least 20 minutes (Half Recital) or 40 (Full Recital) of music (not counting pauses) from the standard repertoire for their instrument as selected in consultation with their applied instructor.  One piece of chamber music may be performed with the approval of the student’s applied instructor. In order to perform a recital, students must pass a recital hearing for a panel of faculty members (the applied instructor and two other professors with at least one from outside the student’s area) a minimum of two weeks in advance of their recital date.

    Studio Class for Brass

    Applied Brass Students are expected to perform in Brass Studio Class (a component of the MUSC 1000 course) at least once per semester.  Music Education majors must perform in one of the MUSC 1000 Recital Hours once per year; Music Performance majors once per semester.


    Applied Repertoire – Percussion

    Students will perform standard repertoire centered around snare drum, timpani, multiple percussion, and mallet instruments (vibraphone, marimba, and xylophone). The repertoire requirements (and instrumentation) are based on course level and semesters studied. Students will be evaluated on scales, rudiments, timpani tuning, and technical skills throughout their time in lower level applied, as well as their expressive artistry. Upper level juries will focus on technical skills and artistry alone.

    Level Change Requirements – Percussion

    Students will perform snare, timpani, and mallet works from the standard repertoire. Students will be evaluated on scales, rudiments, timpani tuning, and technical skills as well as their expressive artistry. Students going through a Level Change must have a three faculty member committee present at their jury.

    Half and Full Recitals – Percussion

    Students will perform 20-40 minutes (Half Recital) or 40-60 (Full Recital) worth of music from the standard repertoire. Students must show that they are ready to perform a recital that shows a high level of artistic and technical skills at a hearing with three faculty committee members at least two weeks prior to the recital date.

    Studio Class for Percussion

    Applied Percussion students will be expected to perform on a percussion Studio Class at least once a semester. 

    Sight Reading Fluency

    Proficiency in aural skills is a basic competency required of all musicians. Concurrent with the Music Theory sequence (MUSC 1301, 1302, 2301, 2302), successful completion of the Aural Skills sequence (MUSC 1401, 1402, 2401, 2402) represents essential musicianship necessary for upper-division music courses. With each semester of the sequence, course learning activities are designed to develop student musicianship relative to four abilities: an ability to use the singing voice as a medium of expression; an ability to imagine (i.e. audiate) the properties of musical sound (i.e. pitch, dynamics, tone color, and duration) from written notation; an ability to express audiated sound as well-tuned singing; and an ability to hear music and transcribe it as written notation. To assist students in developing these abilities, course learning activities will include: utilizing movable ‘do’ solfege; utilizing a system for rhythmic counting; singing a repertoire of instrumental and vocal music, representing a variety of styles and genres; and analysis and identification of the aural and written elements of music. Students demonstrate these abilities by completing the following assessments: four individual sight singing exams, covering diatonic, chromatic, and modulating melodies, in a variety of keys, meters, and clefs; four transcription exams, covering rhythmic dictation (including duple, triple, simple, and compound meters), melodic dictation (including one- and two-voice diatonic, chromatic, and modulating melodies), and harmonic dictation (including diatonic and chromatic chords, in root position and in inversion); and four pre-recorded singing projects, including, but not limited to assigned scales (including diatonic major and minor, chromatic, whole tone, and pentatonic) and solos and/or ensembles from class vocal or instrumental repertoire.

    Keyboard Skills

    For all students, enrollment in and passing of each of the four levels of Keyboard Skills constitutes passing of Piano Proficiency. After enrolling in the course, students may test out early, according to the individual instructor’s policies. This option is intended primarily for students who have had more than 3 years of pre-college private piano study (KS I), or have earned the grade of A in previous Keyboard Skills courses, or are performing at an A level in a currently enrolled Keyboard Skills course. Passing or testing out of a course consists of demonstrating competencies associated with a series of modules, as follows:

    Keyboard Skills I

    Module A           

    ·         5 Finger Pattern in all Major Keys: Textbook p. 60 at bottom, continue up by ½ steps

    ·         Harmonize and Transpose Simple Melody with single left hand pitch

    ·         5 Finger Pattern in all Minor Keys: Text p. 75 #1 continue up by ½ steps 

    ·         Sight Read Simple Piano Piece hands together

    Module B

    ·         Major Scales hands separate 2 octaves: C, G, D, A, E

    ·         Major Triad Arpeggios HS octaves: C, G, D, A, E   

    ·         Harmonize with 2-Hand Accompaniment

    ·         Harmonize and Transpose Simple Melodies with single left hand pitch

    ·         Sight Read Simple Piano Piece hands together


    Keyboard Skills II

    Module C

    ·         Major Scales hands separate 2 octaves: F

    ·         Major Triad Arpeggios hands separate 2 octaves: F           

    ·         Cadential Pattern in Major Keys: Text p. 170 b. 1-3: CGDAEF

    ·         Improvise an Accompaniment Following a Given Pattern

    ·         Harmonize and Transpose Simple Melodies with Blocked left hand chords

    ·         Sight Read Simple Piano Piece hands together

    ·         Harmonize Familiar Tune by Ear

    Module D

    ·         Major Scales HS 2 octaves: Bb, Eb, Ab

    ·         Major Triad Arpeggios hands separate 2 octaves: Bb, Eb, Ab

    ·         Major and Minor ii vi progression Textbook p. 253 b.1-4: F, G, D, Bb

    ·         Cadential Pattern in Major Keys: Text p. 170 b. 1-3: F,Bb,Eb,Ab

    ·         Cadential Pattern in Minor Keys: Text p. 210 b.1-3 top: cgdfaeb

    ·         Improvise an Accompaniment Following a Given Pattern

    ·         Harmonize and Transpose Simple Melodies with March, Broken Chord and Waltz left hand

    ·         Harmonize and Transpose Melodies with Multiple Chords & Blocked left hand

    ·         Sight Read Piano Piece hands together


    Keyboard Skills III

    Module E

    ·         Harmonic Minor Scales hands separate 2 octaves: a, e, d, g

    ·         Minor Triad Arpeggios hands separate 2 octaves: a, e, d, g

    ·         Harmonize and Transpose Moderate Level Melodies using Secondary Dominants

    ·         Sight Read Moderate Difficulty Piano Piece hands together

    ·         Perform at Concert Pitch Bb Trumpet, Clarinet, Coronet, Eb saxophone, F horn:

    Independent Preparation

    Module F

    ·         Harmonic Minor Scales hands separate 2 octaves: f, c

    ·         Minor Triad Arpeggios hands separate 2 octaves: f, c

    ·         Cadential Pattern in Minor Keys: Text p. 210 top: f#,c#,b

    ·         Modulate to the Dominant starting in G, D, F, Bb: Textbook p. 184

    ·         Harmonize & Transpose Moderate Level Melodies and Accompaniments

    ·         Sight Read Moderate Difficulty Piano Piece hands together

    ·         Improvise an Accompaniment from a Given Pattern


    Keyboard Skills IV

    Module G

    ·         Harmonic Minor Scales hands separate 2 octaves:  c,# f#, b

    ·         Minor Triad Arpeggios hands separate 2 octaves:  c,# f#, b

    ·         Modulate to the Relative Minor Starting in G, D, F, Bb: Textbook p. 228

    ·         Harmonize and Transpose Complex Melodies and Accompaniments: Independent Preparation

    ·         Choral Score: perform 2 adjacent parts simultaneously:  Independent Preparation

    ·         Sight Read Piano Piece hands together

    Module H

    ·         Modulate to the Subdominant starting in G, D, F, Bb: Textbook p. 195

    ·         Improvise an Accompaniment Following a Given Pattern: Independent Preparation

    ·         Perform Piano Solo from Memory with Expression

    ·         Choral Score: perform 2 non-adjacent parts simultaneously: Independent Preparation

    ·         Star Spangled Banner

    ·         Sight Read Piano Piece hands together


    Leading, Collaborating with, and Conductor Others

    All BM students develop conducting and leading skills in a conducting class and by directing students in  laboratory ensemble. For Music Education majors, these skills are further developed in Choral (MUSC 4011) and Instrumental (MUSC 4021) Methods classes through instruction and conducting/rehearsal experiences. All BM students may also elect to take Applied Conducting (MUSC 4850), independent study courses, and auditioned opportunities (reading band, competitions, and performances in concert) offered throughout their time at UWG. Students are encouraged to participate in off-campus forums as well in order to further enhance their experience on the podium and in the classroom.

    Students majoring in Piano Performance take two semesters of Collaborative Keyboard Skills, focusing on accompanying instrumental and vocal soloists. Students have opportunities to accompany the choral lab ensemble, as well. All vocal, woodwind, and brass principals learn collaborative skills by working with their accompanists throughout their programs in lessons, student recital appearances, and in degree recitals.

    Music Education majors continue development of leading and conducting competencies through Instrumental Methods and Materials or Choral Methods and Materials. Conducting proficiency specific to vocal ensembles is a basic competency required of all vocal music education majors. Following successful completion of Conducting (MUSC 3850), vocal music education students continue conducting studies in Choral Methods and Materials (MUSC 4011), whose learning activities include applied instruction in conducting and teaching, laboratory conducting and teaching opportunities (MUSC 1000), and field experiences with cooperating middle school and high school vocal music programs. Course learning activities are designed to develop student skills in three domains: score study; knowledge and implementation of conducting gesture and rehearsal technique; and instructional implementation. To assist students in developing skills in these three domains, course learning activities will include: score preparation (including harmonic, structural/formal, and textual analyses) of vocal music from a variety of styles, genres, and ability levels; conducting instruction to cultivate a repertoire of communicative gestures (i.e. right hand and left hand skills to indicate preparatory beats/cues, meter, tempo, dynamics, and articulation) and rehearsal techniques specific to singing and repertoire; and lesson/rehearsal planning (including implementation and assessment), modeled on state performing arts standards and observed ‘best practices’ by in-service educators. To earn credit, students will demonstrate skills relative to these three domains by completing the following assessments and/or requirements: written, repertoire-specific assignments, including, but not limited to structural/formal analyses, historical backgrounds, and formal and informal lesson plans; participation in conducting/teaching master classes with laboratory ensembles; presentation of demonstrations related to conducting and teaching skills (e.g. introducing new pieces, warm up procedures, sight reading, rote teaching, etc.); and 30 hours of documented observations with cooperating high school and middle school in-service music educators. Specific assessments are included in the MUSC 4011 syllabus.

    Ensemble Experiences

    All BM students participate in ensembles appropriate to their applied areas. Participation in at least one ensemble is required for each semester of study, excluding the semester of the Teaching Internship for Music Education majors. For the first four semesters, students are required to participate in a large choir or band. Music Education majors must continue in large ensembles throughout their programs of study. Woodwind, brass, and percussion principals must also enroll in at least one small ensemble to develop musicianship and collaborative skills associated with chamber music. Vocal Performance majors must also enroll in at least one small ensemble. In practice, most BM students enroll in 2-3 ensembles most semesters to develop their performance skills and knowledge of repertoire to the greatest possible extent.


    Musicianship Skills and Analysis

    Students develop musicianship skills and analysis through a four-semester sequence of Music Theory courses. In this sequence, students learn:

    Spatial reasoning in the domains of pitch space, pitch class space, and rhythmic space
    Notation and identification of features of pitch and rhythmic space, including intervals, chords, scales, and rhythms
    Fluent use of descriptive tools such as figured bass, Roman numerals, jazz/pop chord symbols, integer notation, set theory, and formal terminology
    Familiarity with the stylistic features of music from specific traditions including European common practice music, 20th/21st century "art music," and standard jazz
    Interpretation and analysis of repertoire from diverse stylistic sources, making use of standard descriptive tools listed above
    Development of a toolkit for meaningful analysis involving inquiry into issues including performance practice, narrative structure, text setting, hierarchical structure, harmonic motion, voice-leading features, rhythmic structure, metrical expectation
    Performance and Composition majors further develop their analytical skills through courses in Form and Analysis and Counterpoint. All students learn current technology applicable to music study and applied to composition and improvisation exercises in the course: Technology in Composition and Improvisation. Tools employed range from notation software to midi sequencing programs. Further, all BM students take Orchestration and Arranging. In addition to learning general practices and techniques of these skills, capstone projects focus on arranging a composition appropriate to the students’ individual areas of study.

    History and Repertory

    Through a two semester sequence of classes in Western Music and World Music, students gain an understanding of the history and development of musical style, performance, and composition; an understanding of music’s place as situated in a broader cultural context; knowledge about specific composers, compositions, and musical practices; aural recognition of selected examples of music; and the development of critical thinking skills as expressed in informal and formal writing. Students in MUSC 3701, typically studied during junior year, will gain this ability for music between antiquity and 1800. In MUSC 3702, music from 1800 to the present will be covered in addition to musical style across the globe. Students will demonstrate this knowledge through exams, chapter quizzes, debates, and multiple writing assignments. These courses are the department’s designated Discipline-Specific Writing courses. Students learning research and writing skills using APA style in completing writing projects through an iterative process.

    Professional Education

    In addition to taking Choral or Instrumental Methods and Materials, Music Education majors study learning theory and principles of instruction specific to Elementary and Middle School General Music, and to beginning through High School Band and Choral ensembles. A designated course: Principles and Methods of Teaching and Learning studies professional education theories, and addresses assessment processes and education requirements specific to certification in Georgia. For each of three courses prior to the full-time teaching internship, students spend 30 hours in the schools. Five additional courses taught in the College of Education, including Differentiated Instruction for Special Learners and Educational Psychology, are required by the Georgia Professional Standards Commission for P-12 certification in Music.


    Students demonstrate synthesis through capstone experiences in their respective areas as follows: Performance: Full Recital; Composition: Full Composition Recital; Music Education: Student Teaching Internship.

  • Ensemble Enrollment
    Most musicians perform in or lead various types of ensembles throughout their careers. All musicians learn a myriad of performing and teaching skills through their experiences of performing in these groups. Therefore, to help students to develop the requisite skills, all music majors must register for the required ensemble(s). It is recommended that each student participates in more than one ensemble and that music education majors participate in both instrumental and vocal/choral ensembles.

    The various UWG ensembles require an audition for either placement or admission, and all students must enroll. Fall auditions take place prior to the beginning of the semester and during the first week of classes. All auditions are completed prior to the close of the drop/add period. Please contact the appropriate ensemble director for information regarding membership in a performing group.

  • Applied Lessons, Jury Examinations, and the Solo Musician

    About applied lessons

    Private lessons are required for all music majors (Principal Applied), and are available to non-music majors (Non-Music-Major Applied) who are concurrently enrolled in an approved departmental ensemble. Private lessons are also available to music-major students who wish to study a second instrument (Secondary Applied). Lessons are offered as one-hour lessons weekly, for one or two semester-hours credit. An Applied Music Fee is charged to all students enrolling in applied music.

    Applied music study is aimed at providing the necessary training for musicians to develop their performing skills to the highest level possible. Through these studies students have the opportunity to concentrate on developing these skills in a challenging yet supportive environment. Regardless of the major area of study, an applied record is maintained for each student to document progress in his/her private lessons, ensemble experiences, and solo performances.

    All music majors must register for Principal Applied (the principal performing instrument or voice) as part of their degree-program requirements. All students registering for applied lessons are expected to audition before the faculty for initial placement. Requests from students for placement in applied music are honored to the extent possible considering the instructor's teaching load. Applied lessons are held in the studios of the individual instructors. Since some of our applied instructors are part-time faculty, please direct any questions in their absence to the Department Chair.

    Each semester, students must schedule the weekly applied lesson around both the student's and the teacher's schedules. Lesson times are arranged on an individual basis with the instructor. Important: students who have not arranged a lesson time by the second day of classes will be dropped from the applied music course.

    Additional studio classes may be required as part of the applied music course. They are scheduled at an hour convenient to all students of the same instructor. Likewise, the following materials are usually required for applied study: (1) Metronome with both audible and visible indicators; (2) Tuner with meter and tone generator (for instrumentalists); (3) Printed music materials as required by the instructor; and (4) Instrument and accessory items as required by the instructor.

    Applied Jury Examinations

    Applied jury examinations are held at the end of each semester. In a jury examination each student registered for an applied course appears before a committee of the music faculty. At each level of applied study the student must meet specific expectations, as outlined by the applied instructor, in order to advance to the next level. Prior to the jury examination, students (with the assistance of the applied teacher) update their Applied Repertoire and Study Forms. These forms reflect an accurate accounting of applied study and solo performance. While the applied teacher and the committee will make final decisions, the examination will generally include a representation of the major repertoire, excerpts, scales, and technical exercises studied during that quarter. Proper performance etiquette and appropriate attire are highly recommended for all performances, including jury examinations.

    Students are responsible for scheduling their own jury examination(s). The jury-examination schedules are posted one week before final examinations begin. If applicable, students are advised to have accompaniment for solo literature. It is the student's responsibility to secure an accompanist at least three weeks prior to the jury time and to schedule a minimum of two rehearsals. The applied instructor should be present at the rehearsals.

    Principal Applied Expectations

    Each level of applied study has specific expectations for students to pass the jury examinations and advance to the next level of applied study. These expectations are outlined by the applied instructor and included in part in this Guidebook. In addition to the individual requirements of the instructors, minimum skills must be demonstrated for the student to advance from one level of applied study to the next. For advancement from lower-division level (MUSC 2600A-Q Principal Applied) to the upper-division level (MUSC 4600A-Q Principal Applied), students must pass a level-change examination.

    The level-change examination will occur during the applied jury examination in the semester when the student is ready for advancement from the lower-division level of study to upper-division level of study. Level-change committees include, in addition to the applied-area faculty committee, one other faculty member from a different performance area.

    Each student is expected to practice a minimum of one hour daily per applied credit hour for which he/she is registered. Practice rooms are available to all students enrolled in performance courses. Students registered for private lessons, ensembles, keyboard classes, and pedagogy courses can have access to the practice room wing by purchasing a key from the music office.

    Listed below are the minimum expectations for each year and level of applied study. The faculty may require the student to exceed these minimum expectations. However, no student may progress through the applied course of study without meeting these standards.

    Solo Performance Requirements

    Performing in public is basic to the musician's craft. Developing even a moderate level of skill in public performance requires considerable study, practice, and experience. Therefore, to foster these skills, music students are required to present a minimum number of solo public performances in the student's major applied area each year. These performances are an outgrowth of the studies pursued in the applied lessons and must be approved in advance by the student's major applied instructor. Generally, single movements from a multi-movement work or a single-movement work is considered an appropriate choice of literature for a solo public performance. The performance must be presented on an official student recital program (e.g., Student Recital Hour, Half Recital, or Full Recital). Specific degree-program requirements regarding solo public performances are listed below under the heading Degree and Course Requirements.

    Degree Recitals

    The Performance major will be expected to perform a half recital during the Junior year and a full recital during the Senior year. The Half Recital must consist of 20-30 minutes of music. The Full Recital must consist of 40-60 minutes of music. Music Education majors perform either a public recital of 20-40 minutes, or a 15-minute (minimum) program for hearing by the music faculty prior to the semester of student teaching. Specific degree-program requirements regarding recitals are listed below under the heading Music Degree and Course Requirements Unique to Each Major. Information regarding Composition Recitals is listed below under the heading Bachelor of Music: Major in Composition.

    Prior to the presentation of a degree recital, the proposed student degree recital must be presented for approval to a committee of three faculty. The hearing will consist of the entire program, and will include the same personnel as the proposed recital. All accompanied pieces and ensemble pieces must be performed with the accompaniment or complete ensemble. The committee will consist of the student's applied teacher, a teacher of the same or a closely allied instrument, and a teacher from a different applied area. Approval requires that a majority of the committee concur that the recital is ready for performance at the time of the hearing.

    Degree-recital hearings must occur at least two calendar weeks prior to the proposed recital date. Recitals that are not approved may be heard again during the next semester of study.

    Following a successful Recital Hearing, the Recital Hearing Approval Form signed by all members of the faculty committee will serve as the Cashen Hall reservation form and program copy. This form can be obtained from the department office.

Graduate Students

The Department of Music at the University of West Georgia is an accredited institutional member of the National Association of Schools of Music. The Master of Music degree is offered with majors in Music Education and Performance. All instruction is delivered by a distinguished artist-teacher faculty with extensive credentials and professional experience. Faculty members have regional, national, and international reputations in performance, teaching, research, and creative activities.
Find more information about the degree programs offered for graduate students including graduate admissions below:

Graduate Guidebook

  • The UWG Department of Music Graduate Guidebook

    Graduate Recital

    The recital, for which 3 credits are earned, is required in the Performance major and may be considered for one of the approved electives in the Music Education major. The recital must consist of 40-60 minutes of music based on studies in Principal Applied. Each recital must be approved in a hearing, normally scheduled during applied juries in the semester prior to the performance. The student is expected to demonstrate a concert-ready level of performance on all selections, as determined by a majority vote of three or more music faculty members. The performance of the recital is evaluated by the student's faculty committee. A principal-applied voice recital must include works sung in English, French, German, and Italian.

    Directed Independent Study

    Directed Independent Study (MUSC 6981) may be taken with permission of department chairman and a professor who will direct the student's project. DIS credit shall apply toward the MM degree, with the number of credits determined by the scope of the proposed project, as outlined in the DIS form.

    A description of the project and the statement of anticipated results of the semester's work will be signed by the student and the supervising professor. Normally, a written report or term paper will result from the DIS. A performance (recital or jury) may be given in lieu of a written report.

    Advancement to Candidacy

    The graduate music student must apply for advancement to candidacy one semester prior to the proposed graduation semester. Before the student applies for admission to candidacy, a committee of graduate music-faculty members is determined in consultation with the Chair of the Department of Music. The committee must consist of three graduate faculty members; the student's major professor and two additional graduate faculty members who have worked with the student during his or her program of study. The major professor is the faculty member who has worked most closely with the student in the major area of study.

    Upon establishing the graduate faculty committee, the student must complete an Application for Admission to Candidacy. After the application is completed and signed by the student's major professor and the Chair of the Department of Music, it is forwarded to the Dean of the Graduate School for approval.  These forms are available in the Department of Music Office or the Graduate School.

    Comprehensive Final Exam

    A Comprehensive Final Examination (CFE) is administered during the final semester of study to all candidates seeking a Master of Music degree. The examination is designed to help determine the student's ability to synthesize a broad body of knowledge gained through graduate study. Students may be asked questions of a practical, theoretical, or historical nature as well as specific and general questions relating to the plan of study. See below for information specific to the MM in Music Education and the MM in Performance degrees.

    One semester prior to the examination, the student must invite 3 faculty members to serve on their CFE committee. Of the three members, two or three should be music faculty and one may be from the College of Education. All committee faculty members should have been teachers of record for the candidate’s program of study courses. The candidate should request examination questions from each member of the CFE faculty committee. 

    In preparation for the oral examination, candidates for the Master of Music in Music Education must prepare a written report based on questions from the faculty committee. Each committee member will submit one question for the candidate. Each candidate response should be between 1000-1500 words in length (exclusive of references and quotes). At least one response must directly address research processes and findings from a primary area of interest in music education. The candidate must present answers to each member of the faculty committee at least one week prior to the scheduled oral examination. Candidates should be prepared to elaborate on the answers as part of the oral examination process. The oral exam will be conducted on the UWG campus or via video-conferencing as approved by the committee.

    Selections performed on the graduate recital by candidates for the Master of Music in Performance serve as the basis for answering general and specific questions at the final comprehensive oral examination. Candidates should be prepared to demonstrate extensive knowledge – historical, theoretical, stylistic, and pedagogical ­­– of all works and styles performed on the graduate recital. Students are required to provide scores and, per committee request, may be required to submit analyses prior to their comprehensive final oral examination. The oral exam will be conducted on the UWG campus.

    Thesis Option

    Students in the Master of Music program who plan to pursue additional graduate study are strongly urged to consider selecting the Thesis Option as part of their degree requirements. The completion of a Master's Thesis is documentation of one's scholarship and generally is considered to indicate expertise in a given area of study. Students pursuing the Thesis Option may register for 3, 6, or 9 hours of credit in MUSC 6999 Thesis in Music as approved electives.

    Prior to selecting the Thesis Option, the student must establish his/her graduate faculty committee. The student will work with the committee to develop a thesis topic proposal and complete the thesis document under the direct guidance of the committee chairperson. It is expected that the manuscript will demonstrate high standards of scholarship. Once the topic has been chosen, a formal proposal is prepared. The proposal, when fully developed, must be approved by the candidate's committee. During the research and writing of the thesis document, the candidate is advised to consult regularly with the major professor and the other members of the committee. Following approval of the committee, the document must be defended orally.

    Graduate Assistantships

    Graduate Assistantships and Graduate Research Assistantships in Music are available on a competitive basis to qualified graduate students. In the College of Arts and Humanities, Graduate Research Assistants are employed as either full-time assistants or half-time assistants. Both in-state tuition and out-of-state tuition are waived for qualified Graduate Research Assistants.

Frequently Asked Questions (FAQ's)

  • Does the Music Department supply instruments?

    We can supply an instrument to you - however, it is on a needs basis. As a music major, it is imperative that you purchase your own instrument soon after you begin - this instrument is the very tool of your trade!

    To request an instrument, please speak with the UWG Bands equipment manager.

  • Are lockers available to store my instrument?

    Yes, we have lockers of varying sizes available for rent and are available on a first-come, first-served basis. The fee per semester is $20 and can be paid in cash or personal check. To purchase a locker, follow these steps:

    1. Bring $20 (cash or check only) to the Music office (HUM 105) during regular office hours.
    2. Review and sign the Locker Contract given to you by the Music Departmental Assistant.
    3. Supply a lock for your locker. Remember to supply a sturdy, well-built lock that only you can access.

    Lockers are rented for each semester only. To renew your contract between the Fall and Spring semesters, you have two options:

    1. You may pre-pay the Spring locker rental fee anytime before Fall graduation, or
    2. You may pay $40 to secure a locker for the Fall and Spring semesters.

    Please be advised that any fee pre-paid is non-refundable.

    All lockers must be cleaned and emptied no later than one week after graduation. All remaining lockers will have the locks cut and the contents removed.