Cal

Poly Pomona
Department of Music

Voice Handbook
2019-2020

“I tell my students...I say, ‘you don’t understand.’

You’ve got to become obsessed with the music.
You can’t go into it halfway.
Music has to be like your lover;
You can’t just pay attention to it every so often.
It has to be something you want all the time.
You’re consumed by it.”
-Ric Soto


Greetings Studio Voice Students! Congratulations on choosing Voice as your primary
instrument. This is an opportunity to develop excellent and healthy technique and to grow in
your artistry so that you may share your gift for many years!

This handbook is designed to be all-inclusive in providing information you will need to know as
a student of Studio Voice Lessons at Cal Poly Pomona Music Department.

Please keep an e-copy of the Voice Handbook so that you have answers and resources as
needed. In addition, the faculty is always available to answer any questions you may have!

Dr. Ali
Voice Area Coordinator | Associate Professor of Music
Cal Poly Pomona University | Department of Music
Ph: 909-979-5569 | Email: [email protected]

CONTENTS
Auditions / Studio Placement 3
Voice Area Ensembles 4
Voice Studio 4-5
Juries (Voice Finals each semester) 6
Upper Division Studio Auditions/Proficiency 7-9
Junior Recitals 10-11
Senior Recitals 12-15
Post-Recital Receptions 15
Senior Exit Essay 16
Voice-Related Classes 17
Accompanist Information and Policies 18-20
Resources for All Students 21

APPENDIX (Forms)
A. Request for Voice Studio Placement Audition
B. Lower Division Repertoire Grid: Bachelor of Music Classical Voice / Music Education
C. Lower Division Repertoire Grid: Bachelor of Music Commercial Voice
D. Jury Form (near office at the time of jury sign ups/end of semester)
E. Studio Request Form (Blue form near office area)
F. Recital Approval Form (Also found on CPP Music Website: Policies & Documents)



2
Auditions / Studio Placement
At one of three times during the academic year, you may audition for placement in a Voice Studio.
These placement auditions take place at the following time:

Fall Semester: Week Zero

End of Fall Semester: During Juries (Finals Week, Fall)
End of Spring Semester: During Juries (Finals Week, Spring)

Studio Voice Placement Auditions take place during finals’ week (jury times) and at the start of
the academic year.
All students are required to audition in order to qualify for placement in studio lessons. Auditions are
normally 8-10 minutes in length. Students should select material for the audition which best
demonstrates their abilities. Placement auditions for Fall semester studios will be held on
Wednesday of Fall Conference week (the day before classes begin). Auditions for Spring semester
studios will be held during finals week of the Fall semester, during juries. In order to continue in
studio, students must qualify at their jury each semester.

Forms to request upcoming auditions for students who did not begin Studio Voice during their first
semester can be found outside of Office 134 on the bulletin board. Email Dr. Ali for confirmation of
receipt once you have filled out the form and placed in it the envelope. See Appendix A at the back of
this handbook.

A. Prepare an Audition Document to bring to your audition

Students should prepare the material as detailed below. Please provide the following information on a
typed document for the audition committee. If you do not provide the complete information in a
typed document at the audition, you will not be placed in studio.

1. Name, Bronco ID, Major, Expected Term and Year of Graduation
2. A list of repertoire studied during the past 3 years
3. Prior musical training (list, or present a resume)
4. Performance experience (solo and ensemble-list, or present resume)

B. At the Audition

1. Student will present the aforementioned typed document.
2. Student will sing two memorized songs in contrasting styles and tempi, which the
student is capable of singing on pitch and with some musical understanding. The songs
may be from the classical, Broadway, jazz, folk, or pop repertoire.
3. Student will provide sheet music for the accompanist in the correct key; or a background
track* for each song.
4. Student will be expected to demonstrate tonal memory skills.
5. Student may be asked to sight-read a melodic excerpt.
6. Student will be expected to demonstrate vocal potential as shown through tone quality,
clear diction, rhythmic aptitude, and the ability to communicate emotion.

* Tracks: If you are bringing tracks, you must email Dr. Ali no later than 2 weeks prior to the audition
to communicate what you are bringing (phone? CD?) and what electronic needs you have.

You are required to be concurrently enrolled in Performance Seminar (MU 2700), and a voice-
related ensemble while in Studio Voice. See Voice Area Ensemble section of this document
(pg. 4) to contact directors of ensembles for audition information.
3
Voice Studio

The Voice Faculty at Cal Poly Pomona consists of outstanding singing artists who all bring a variety of
performing and teaching experience, knowledge, singing and teaching skill, and education to the studio
in guiding your singing so that you may reach your potential as a singer.

All Studio Instructors require a regular practice regime for all students enrolled in Studio Voice. In
general, 7-12 hours per week is a good range for singing improvement. Be sure to schedule regular
practice times. Study outcomes have shown that twenty minute practice periods with breaks have
been proven to be more productive than continuing beyond twenty minutes without a break. Your
studio instructor will provide you with details about practice required and the means of reporting it
each week.

*All students enrolled in Studio Voice are also required to be enrolled in MU 2700 (Performance
Seminar – Voice) during each semester of studio lessons.

*All students enrolled in MU 1770, MU 1811, MU 3770, MU 3811, and MU 4610 are required to be
subsequently enrolled in a VOICE AREA ensemble during the semester of studio lessons.

Voice Area Ensembles

*Kellogg Chamber Singers: Contact Dr. St. Clair, [email protected]

*University Concert Choir: Contact Dr. St. Clair, [email protected]
*Music Theatre Workshop: Contact Dr. Ali, [email protected]
(Opera, Operetta, and Musical Theatre)
Polytonix Vocal Jazz Ensemble: Contact Professor Proulx, [email protected]
Soul Ensemble as a singer: Contact Professor Proulx, [email protected]
Jazz Band as a singer: Contact Dr. Kopplin, [email protected]
Mariachi (must sing and play an instrument) Contact Dr. Vallejo, [email protected]
Singer/Songwriter Showcase as a singer Contact Professor Winer, [email protected]

*BM performance majors must plan carefully in order to fulfill requirements.

~ LOWER DIVISION STUDIO FOR Bachelor of Arts Students ~

MU 1770: Lower-Division Voice for Bachelor of Arts Majors
- BA General Music (4 semesters)
- Music Industry Studies Students (2 semesters of studio required on your chosen
instrument)

MU 1770 students will have ½ hour per week studio lesson with a Cal Poly Pomona Music Department
Studio Voice Instructor. In addition, you are required to attend a coaching session with the staff
accompanist each week. You should sign up for this weekly time on the door of Studio 132 at the
beginning of each semester. The duration of these coachings is determined prior to each semester and
may vary based on studio enrollment numbers.


“Creativity without discipline will struggle; creativity with discipline will succeed.”
― Amit Kalantri, Wealth of Words

4
Voice Studio (continued)


~ LOWER DIVISION STUDIO FOR Bachelor of Music Students ~

MU 1811: Lower-Division Voice for Bachelor of Music Majors
- BM Vocal Performance (Classical or Commercial)
- BM Music Education

MU 1811 students will have a one-hour per week studio lesson with a Cal Poly Pomona Music
Department Studio Voice Instructor. In addition, the staff accompanist will attend the second ½ hour
of each lesson.

After four semesters of Voice Studio at the MU 1811 level, students audition for Upper-Division Studio
Voice in order to be permitted to continue in the Bachelor of Music program. This leads to permission
for a Junior Recital and Senior Recital for Performance Majors; and a Senior Recital for Music
Education Majors. Students who do not pass have one more chance. After that, students must move
into the Bachelor of Arts General Music program if they do not successfully pass into Upper Division
Studio.




~ UPPER DIVISION STUDIO FOR Bachelor of Music Students ~

MU 3770: Upper-Division Voice for Bachelor of Music Majors
BM Music Education

MU 3811: Upper-Division Voice for Bachelor of Music Majors
BM Vocal Performance (Classical or Commercial)

MU 3770 and MU 3811 students will have a one-hour per week studio lesson with a Cal Poly Pomona
Music Department Studio Voice Instructor. The staff accompanist will attend the second ½ hour of
each lesson. In addition, you are required to meet with the staff accompanist for coaching once per
week. You should sign up for this weekly time on the door of Studio 132 at the beginning of each
semester.

MU 4610 is the enrollment required for the final semester of Studio Voice concurrent with the
semester of Senior Recital (MU 4621).



“Success is no accident. It is hard work, perseverance,
learning, studying, sacrifice; and most of all, love of what
you are doing or learning to do.” -Pele
5
Juries (the Voice Final each semester)

Juries are the venue during which you perform your semester rep for the faculty as a final exam to
your Studio Lessons. Juries occur during finals week of each term.

Jury sign-up sheets are posted outside of the music office prior to finals week near the end of each
semester. You must sign up on the Voice Jury sheet. This is an individual time that you choose, usually
consisting of a 9-10 minute time slot. Location of juries will also be provided on the sign up sheet.

Posted near Jury Sign-Up:

1. Jury Sheets (bring 5 completed copies): Students are required to bring the completed copies with
BOTH SIDES copied to their jury. Students should read the entire sheet and complete it accurately.
Note the bottom of the front page provides instructions for additional documentation you must type
and present at your juries. This includes program notes, translations of non-English language
selections, IPA translations for those who have taken Diction class, and a goals assignment. IPA
translations should be written out (or re-typed). Do not submit a printout of the IPA from the internet-
writing it out yourself will increase your skill in using the International Phonetic Alphabet. See
Appendix D at the end of this handbook.

1a. Typed Document (bring at least 1 copy): Please read the bottom of the Jury Form and
follow instructions to create this form.

2. Studio Request Form (bring 1 copy only): If you are continuing in Studio Voice, a Studio Request
Form (only one) should be submitted with your paperwork at your jury. See Appendix E at the end of
this handbook.

For a positive and enriching experience, prepare all paperwork prior to the day of your jury. Prepare
this paperwork when you are not rushed.

When you enter the jury room, present an organized stack of the documents to a faculty member who
will then distribute them as you make your way to the piano to provide your music to the accompanist.

Dress for the jury is similar to dress for performance at an afternoon concert—not extremely formal
but nice attire. A suit—or dress shirt with dress slacks or skirt—will help establish that this is an
important moment. If you have questions about how dressy to be, ask your studio or performance
seminar teacher.

“The greatest respect an artist can pay to music is to

give it life.” – Pablo Casals

6
 Upper Division Studio Auditions/Proficiency

Bachelor of Music Program:
Classical Vocal Performance MU 1811 / MU 3811
Commercial Vocal Performance MU 1811 / MU 3811
Music Education/Pedagogy MU 1811 / MU 3770

At the end of the 4th semester of studio lessons (or possibly sooner for transfer students), students are eligible to
apply for upper division standing. These auditions are part of the regular Fall and Spring juries. Upper Division
Studio (MU 3811 & MU 3770) auditions take place during juries once a student has completed Lower Division
(MU 1811) repertoire requirements and the Studio Teacher has determined the student is ready for upper
division study in the BM program.

Students will have two opportunities to qualify for upper division status. Students who fail their initial audition
will be granted one additional attempt. If they fail the second attempt, they will not be allowed to continue in the
music performance emphasis or the music education option. At that point, they must either change to the BA
degree option in Music, or possibly to MIS after consulting with MIS advisors.

During the designated Upper Division audition jury, students in the BM program must present seven (7) songs
total plus additional jury rep if songs are from previous juries’ terms of study before they move into Upper
Division Studio (MU 3811/MU 3700).

Students auditioning for Upper Division must:

• Sign up for TWO consecutive jury slots.

• Prepare 5 regular jury sheets and list the repertoire studied during the current semester.

• Mark songs that are both from the current semester and selected as one of the seven required Upper-Division
Audition songs with an asterisk or highlighting on the regular jury sheet.

• Present the Lower Division repertoire grid of all repertoire studied for 4 semesters with titles, composer names,
and semester presented for jury. This repertoire sheet is a template for required repertoire that you and your
studio instructor will complete during your first four semesters of studio voice. The seven (7) selected songs
should be highlighted; and the Independent song should be included in the grid where it appropriately fits. See
detail on pages 8 & 9 about exact word for word translations of your independent song.

• Prepare scholarly program notes for each of the seven songs selected for the upper division jury. For all non-
English language songs, provide a poetic translation with each program note listing.

• Prepare scholarly program notes as required for regular juries as well (See bottom of Jury Sheet).

• Bring 5 copies of each of the following:

1. Regular Jury Sheets filled out (two-sided)

2. Lower Division Grid of 24 songs (See Appendix B and Appendix C in this document). Highlight the
chosen 7 selections for the UD Audition.

3. Program Notes for all Upper Division Audition selections and regular jury repertoire with translations as
noted above.

NOTE THE INFORMATION ON THE BOTTOM OF THE FRONT PAGE OF THE JURY FORM:

• If you have taken diction, please note the International Phonetic Alphabet (IPA) requirement on the bottom of the
regular jury form and be sure to bring this completed assignment to your jury along with other required
paperwork. As always, you must write out the IPA, and not just submit an already-prepared printout from a
source.
• Note the GOALS assignment and be sure to bring this completed assignment to your jury along with other required
paperwork.
7
 Upper Division Studio Auditions (continued)

Upper Division Jury/Audition Requirements:


Performance Classical
Music Education

Voice Performance (Classical) and Music Education Students will prepare seven songs to include:

1 One English art song
2 One German Lied
3 One French art song
4 One song from the contemporary period (art song-any language)
5 One aria from an opera or oratorio
6 One selection of the student's choice
7. INDEPENDENT ITALIAN SONG*

*Students pursuing the Bachelor of Music Degree in Classical Performance or Music Education
will be assigned an Italian song during Week 9. The student must learn, practice, and memorize
the selection independently with no assistance from voice instructors, accompanists, coaches, or
other faculty.

*WORD FOR WORD TRANSLATION: At the audition, faculty on the jury will ask you what certain
Italian words mean in English. They will also ask you to say the Italian word equivalent when
given the English meaning. All words will be from your assigned song.


Performance Commercial

Voice Performance (Commercial) students will prepare seven songs (at least one should
demonstrate microphone technique) to include:

1. One art song in Italian or English
2. #One classic pop ballad
3. #One classic rock or R & B song
4. #One classic country or folk/acoustic song
5. #One jazz song
6. One contemporary Musical Theatre song or contemporary popular song in Spanish or Brazilian
Portuguese
7. INDEPENDENT COMMERCIAL SONG*

# You may substitute another song from an area of commercial music in which you are interested.
Only one of these selections may be substituted. This must be approved ahead of time.

~CONTINUED NEXT PAGE~

8
 Upper Division Studio Auditions (continued)


*Students pursuing the Bachelor of Music Degree in Commercial Performance (Voice) will be
assigned a commercial / classic/ pop style song in a language other than English during Week 9.
The student must learn, practice, and memorize the selection independently with no assistance
from voice instructors, accompanists, coaches, or other faculty.

*WORD FOR WORD TRANSLATION: At the audition, faculty on the jury will ask you what certain
non-English words mean in English. They will also ask you to say the other-language word when
given the English meaning. All words will be from your assigned song.



Evaluation for Independent Song Preparation:
• Complete memorization
• Good Diction
• Precise Rhythm
• Accurate Melody
• Secure entrances
• Appropriate Style
• Knowledge of translation
• Delivery of text artistically
• Artistic singing
• Indication that student is capable of learning repertoire quickly and accurately


Overall Upper Division Evaluation:
• Performance of all repertoire fully memorized/performance ready
• Good Diction for all languages and styles represented
• Precise Rhythm
• Accurate Melody
• Appropriate Style
• Delivery of text with appropriate affect
• Artistic singing
• Evidence of full understanding of each word and phrase through performance delivery
• Evidence of ensemble with accompanist indicating attendance at all coachings
• Indication that student is capable of learning a variety of repertoire
• Demonstration that the student will be able to perform a satisfactory, high-quality junior recital
and senior recital required for the Bachelor of Music degree (a professional degree program).


“The secret of getting ahead is getting started. The secret of getting
started is breaking your complex, overwhelming tasks into smaller
manageable tasks, and then starting on the first one.”
-Mark Twain

9
Junior Recitals

Bachelor of Music Program: MU 3901
Classical Vocal Performance
Commercial Vocal Performance

Each Vocal Performance (Classical / Commercial) music major in the Bachelor of Music program must
complete a successful Junior Recital. This project is a pre-cursor to the longer, more advanced capstone
Senior Recital. Requirements for each recital include preparation and presentation of a printed
program with program notes and/or translations prepared by the student in consultation with the
studio teacher. The draft must be proofed by your studio instructor or the recital supervisor two (2)
weeks in advance of the pre-recital (which will take place during Performance Seminar class). The
recitalist should immediately implement suggested edits and have the program ready to print at the
time of the pre-recital.

Juries and Repertoire during the year of the Junior Recital
Junior Recitalists are required to fulfill the minimum requirement of number of repertoire selections
(6 new songs) during the semester before their Junior Recital. See Post-Recital information at the end
of this “Junior Recitals” section for information about repertoire and juries during the semester of the
recital.

Scheduling
You must attend the Recital Planning Meeting in the Spring for all recitals planned for the subsequent
academic year. Faculty will assign your presentation date and time during the summer of the year
preceding your presentation. If you are unable to complete your project on the assigned date for any
reason, you will be moved to the following academic year.

The pre-recital audition will be scheduled and take place during Performance Seminar no later than
four weeks before your scheduled Junior Recital. At this point, the recital should be performance-
ready.

Furthermore, you will need to turn in all required documentation at the Performance Seminar pre-
recital audition, attend all studio lessons, and attend meetings with the Recital Supervisor (Voice Area
Coordinator). You must submit a ready-to-print recital program. Your attention to and preparation for
these important intermediate dates is part of the “timeliness” part of your grade. See the Recital
Approval Form for further information. See Appendix F at the back of this handbook.

Performance
The Junior Recital will consist of 20-25 minutes of repertoire. Two students will be assigned to each
recital. Repertoire should be appropriate to your major, and determined through planning with the
studio teacher and student.

Supervision
Junior Recital supervision shall consist of a full-time faculty member assigned to your specific
emphasis area (Voice Area Coordinator) and student’s instructor. Share your ideas about the project
with them. Refine your ideas and those suggested to you by the members of the faculty. The supervisor
of your recital will be responsible for all direct communication with you during the planning and
implementing of your Junior Recital and for administering your grade.


10
Junior Recitals (continued)

Pre-Recital Jury/Rehearsals
A Pre-Recital audition during Performance Seminar is mandatory for all Junior Recitals.
Rehearsals for recitals normally take place during student's studio lesson times, and during weekly
coachings and individual practice sessions. If chamber ensembles or small groups/bands are involved
on recitals, rehearsals may need to be coordinated with the staff technician and the studio teacher. The
dress rehearsal for a recital is coordinated by the student and studio teacher, the technician, and the
accompanist playing for your recital. The studio teacher MUST attend the dress rehearsal of the
recital; hence, the date and time should be planned accordingly.

Programs
The department does not provide/print/copy programs for Junior Recitals. If you are timely with your
preparation, you will be permitted to use the department copy machine to make copies for your
recital. Keep in mind, timeliness is part of the final grade for Junior Recital.

Evaluation
Each Junior Recital will be evaluated based upon the following elements:

1. Final Performance or Presentation (50% of grade)

2. Timeliness of Project including following the guidelines of the Qualifying Review or Recital
Approval documents and completing assignments made by the committee or studio teacher
(50% of grade). This includes a ready-to-print program four weeks prior to the recital. First
drafts should be submitted well before this deadline in order for the program to be proofed and
corrected by this time. 2

Post-Junior Recital
If the Junior Recital takes place during the last three weeks of the semester, no jury is required. If the
recital falls sooner in the semester (sooner than week 13, 14, 15), the student is required to continue
lessons and perform a jury with no fewer than two (2) new selections.

If the junior recital falls within the last three weeks of the semester, the student is required to continue
to attend Performance Seminar and will be assigned a small project by the instructor. In addition, all
Performance Seminar work is due as stated on the syllabus. A jury will not be required if the recital
falls within the last three weeks of the semester (during week 13, 14, or 15).






If I don’t practice for a day, I know it. If I don’t practice for two days,
the critics know it. And if I don’t practice for three days, the public
knows it.” -Louis Armstrong

11
Senior Recitals


Bachelor of Music Program: MU 4621
Classical Vocal Performance
Commercial Vocal Performance
Music Education/Pedagogy

Preparation and Performance
Each Performance (Voice) and Music Education (Voice) music major must complete a senior
recital/project. This project should demonstrate a synthesis of all the knowledge the student has
learned throughout his or her college career. The project should also prove that the student is ready to
move forward academically, whether by entering graduate or professional school, pursuing a
credential, or entering the work force. Music Education majors may present a recital, a presentation, or
a combination of the two under the direction of the committee chair and the studio teacher.

The successful completion of a capstone recital or project is a vigorous and long process that takes at
least one academic year. Students are required to envision, conceptualize, plan and execute their
projects to the best of their abilities.

Juries and Repertoire during the year of the Senior Recital
Senior Recitalists are required to fulfill the minimum requirement of number of repertoire selections
(6 new songs) during the semester before their Senior Recital. See Post-Recital information at the end
of this “Senior Recitals” section for information about repertoire and juries during the semester of the
recital.

Committees
Each Senior Recital Committee shall consist of one or two full-time faculty members assigned to your
specific emphasis area with the part-time studio teacher included as needed. Share your ideas about
the project with them. Refine your ideas and those suggested to you by the members of the faculty
Draft/Description of project section of the Senior Project Form. The chair of your committee will be
responsible for all direct communication with you during the planning and implementing of your
senior project and for administering your grade.

Scheduling and Paperwork
Faculty will assign your committee members and chair as well as your presentation date and time
during the summer of the year preceding your presentation. If you are unable to complete your project
on the assigned date for whatever reason, you will be moved to the following academic year for final
presentation.

You will work with your committee to set dates for your Pre-Recital Jury and dress rehearsal.
Furthermore, you will need to turn in all required documentation by due dates and attend all studio
lessons with your Studio Voice instructor, and meetings with your committee chair. Your attention to
and preparation for these important intermediate dates is part of the “timeliness” part of your grade.
See the Recital Approval Form for further information (Appendix F at the end of this handbook and
online).

Program Draft and Edited/Corrected Program at Pre-Recital
You must submit a draft of your program, including repertoire, composers, dates, translations, and
program notes two weeks prior to your pre-recital. Ask your Studio Instructor if they will be proofing
it, or if they would like you to work with the Recital Supervisor for proofing. You should immediately
implement the edits and prepare a quality program to present at your pre-recital. Your attention to
and preparation for these important intermediate dates is part of the “timeliness” part of your grade.
12
 Senior Recitals (continued)

Recitals/Pre-Recital Jury/Rehearsals
Senior Recitals are specifically for Performance emphasis music majors and are approximately 60
minutes in length. Music Education students may choose to give a recital as all or a portion of their
senior project. The recital repertoire must be approved by the studio teacher in conjunction with the
student's committee chair. This program will be listed on the Senior Project Form. Each recital will
have a printed program with program notes and/or translations written in consultation with the
studio teacher.

A Pre-Recital Jury is mandatory for all Senior Recitals. See the “Recital Preparation and Approval
Form” for detailed information.

Rehearsals for recitals normally take place during student's studio lesson times, and during weekly
coachings and individual practice sessions, but if chamber ensembles or small groups/bands are
involved on recitals, rehearsals may need to be coordinated with the staff technician and the studio
teacher. The dress rehearsal for a recital is coordinated by the student and studio teacher, the
technician, and the accompanist (if s/he is performing on your recital). The studio teacher MUST
attend the dress rehearsal of the recital.

Evaluation
Each Senior Recital/Project will be evaluated based upon the following elements:

1. Final Performance or Presentation (55% of grade)
2. Timeliness of Project including following the guidelines of the Qualifying Review or Recital Approval
documents and completing assignments made by the committee or studio teacher (35% of grade)
3. Senior Exit Essay (10% of grade) See page 16.

Juries during Semester of Senior Recital

If the Senior Recital takes place during the last five weeks of the semester (week 11, 12, 13, 14, or 15),
no jury is required. The student is encouraged to focus on the Senior Exit Essay. Attendance at
Performance Seminar is required, and a small project may be assigned by the instructor. If the recital
falls sooner in the semester (sooner than the last five weeks), the student is required to continue
lessons and perform a jury with no fewer than two (2) new selections.

Recital Preparation Timeline (based on a spring semester recital; if performing in an earlier semester,
make adjustments as needed)

Spring Semester before final year

1. Begin thinking about and plan your recital repertoire. Listen to many performances of literature for your
instrument to help you in selecting repertoire that is appropriate for your level and for a senior recital.
Develop a practice and lesson plan for summer.
2. Seek out advice and guidance from your teacher to shape your program.

Fall Semester of final year

1. Assuming your recital is in spring semester, you should make final selections and develop a regular
practice routine for learning your recital repertoire. If your recital is in the fall semester, this should
have been done the previous spring or during the summer.
2. Attend your lessons regularly. Perform recital repertoire in Performance Seminar as often as possible.

13
 Senior Recitals (continued)
3. If your committee chair is NOT your studio teacher, make sure you keep him or her informed of your
preparation process.
4. Meet with your committee at least once during the semester, before your pre-recital jury to apprise
them of how the project is progressing.
5. Seek out performance opportunities on and off campus; local nursing homes, churches, other schools,
family gatherings, Music Hour, etc.
6. Work with your studio teacher or committee chair to develop your program draft complete with
program notes and translations where necessary.
7. Enroll in MU 4610 for Studio during the semester of your Senior Recital. Enroll in 4621: Senior Recital
as well for the semester in which you are presenting your recital.
8. Schedule your dress rehearsal now if your recital is within the first 8 weeks of the upcoming semester.

Spring Semester of final year

1. Schedule your pre-recital jury for 4 weeks before your recital date. Your entire committee must attend
the pre-recital jury as well as any guest artists who may be performing on your recital. A draft of your
program and publicity flyer must be submitted at that time for approval.
2. Schedule your dress rehearsal if you have not already done so. Your studio teacher must attend the
dress rehearsal.
3. Continue with your practice and performance routines. Select your attire for the performance in
consultation with your studio teacher.
4. Two weeks before the performance, post your flyers in the department and submit your final program
to the publicity office.
5. If possible, it is highly recommended that you take off work or limit work hours to a minimum during
the week of your performance. You want to be rested and to have time to practice and do any last
minute preparation. You want to be healthy and have the time to focus on your performance.
6. Perform your dress rehearsal 2 or 3 days before the recital. Wear your performance shoes. Receive
feedback from your teacher. Reflect and make corrections during the final days before the performance.
7. Perform your recital! Your family may provide a reception following your program.
8. Meet with your committee approximately 1-2 weeks following your recital to evaluate the experience
and receive your final grade.

FAQ

1. “How long is the recital?”
Each recital is about one hour to one hour plus 15 minutes long. This includes a 10-minute
intermission.

2. “How should I dress?”
You should dress in a professional manner appropriate for your particular area of expertise.
Discuss your attire with your teacher for suggestions.

3. “Can someone assist me on my recital?”
Your studio teacher has the final word on repertoire for the recital. It is often to the benefit of the
student to include chamber music, duets, or ensembles as part of the recital program.

4. “What exactly happens during the pre-recital jury?”
During the pre-recital jury, you will present your program to the committee. Usually the entire
recital is not performed, but the studio teacher takes the lead in determining what segments or
excerpts will be performed. The committee must determine if you will be prepared for a public
performance in approximately 4 weeks from this jury.

14
Senior Recitals (continued)

5. “What happens if I fail the pre-recital jury?”
As this is your capstone project, you should never be in a position to fail MU 4621. If you have
closely followed instructions, and maintained good practice and performance routines, it is
unlikely that you will fail. Sometimes however, there may be suggestions on the order of the music
or in extreme cases, suggestions to remove something from the program that is not up to par. If
the student is clearly not prepared, then failing the pre- recital jury means that you receive an F
for MU 4621. You would need to re-register for the class in a subsequent year and follow through
with the entire process again.


Post-Recital Receptions

If you wish to have a post-recital reception (outside on the patio near the recital hall, or near the sofas
inside), staff members do not assist with this. We can provide information about obtaining tables for
you.

You may also investigate using the Art Gallery space (or patio) on the near end of the BSC

“There will never come a time when you

don’t have to practice.”
-J.J. Johnson

15
Senior Exit Essay (Reflective Essay Assignment to accompany Senior Recital)

An important part of every phase of our lives is reflection on what we’ve learned, what we’ve accomplished, and
how we’ve changed. In this reflective process, we also look a little further down the path we are traveling;
sometimes we change paths as a result of the process.

For this reason, one culminating project of this program is a reflective essay. There are three primary objectives for
this assignment:
1. for you to demonstrate that you can write clearly and communicate effectively.
2. for you to consider what have been the most important things you learned from your time at Cal Poly
Pomona; and
3. for you to take that understanding and project it into your future: where do you expect this to lead?

A successful essay will:
• be free of distracting errors in spelling, grammar or syntax
• be organized in a way that shows consideration of the flow of the essay and reflects multiple drafts and
revisions
• trace your progress through the 4 core threads of the music program: music theory and musicianship,
ensemble performance, music history and literatures, and music technology. You do not need to focus on
each individual course, but rather the threads (listed above) that weave the tapestry of music.
• draw connections between the core threads and the specialty courses of your particular emphasis area,
discussing how you have achieved expertise and experience in your chosen field.
• discuss the experiences of sharing music with the broader community—service learning and community
engagement. How did these experiences influence your learning process and achievements?
• discuss your immediate plans for life beyond CPP, connecting how you expect to use what you have
learned here in your work out there.
• engage the reader in 9-11 double-spaced pages of 12-point Helvetica, Arial, or Times New Roman font
with 1” margins.

Please examine the rubric for grading criteria.

Criterion Exemplary (4) Acceptable (3) Incomplete (2) Unacceptable (1)
Writing Grammar and spelling Some errors in grammar or Errors in grammar or Errors in grammar or
mechanics mistakes minimal spelling but not enough to spelling distract from the spelling eclipse the
distract from meaning overall meaning overall meaning
Overall A thoughtful coherent essay Thoughtful and purposeful Contains interesting ideas Pointless or
Content written clearly with but without explicit but without clear unconnected, missing
purposeful connections connections or otherwise connections or clear flow elements
unclear from section to section

Specific All threads discussed with Missing a thread, or Missing more than one Only courses
threads depth, thoughtful-ness and individual courses thread or mentioning only a discussed with no
purpose substituted for threads, or single course for a thread; connection to threads
discussion is shallow superficial discussion

Community Details specific benefits from Specific benefits mentioned Community experiences Missing this
community experiences but incomplete regarding mentioned but not discussion
connected to curriculum how it relates to curriculum connected to curriculum

Important Articulates knowledge gained Discusses learning but Discusses projects but not Merely reports events
learning clearly and in context to the without context or without necessarily actual learning without personal
discussed big picture clear articulation insights
Projection Draws clear purposeful Describes future plans with Describes future plans Does not project into
into future connections between CPP some connection to CPP without relating to CPP future
experiences and future plans experiences experiences

Total points possible: 24
23-24=A 22=A- 21=B+ 19-20=B 18=B- 17=C+ 16=C 15=C- 14=D+ 13=D 12=D- 0-11=F

16
Voice-Related Courses


MU 1770: Lower Division Studio Voice for BA students
MU 1811: Lower Division Studio Voice for BM students
MU 3700: Upper Division Studio Voice for BM Music Education students
MU 3811: Upper Division Studio Voice for BM Performance students
MU 3901: Junior Recital for BM Performance students
MU 4610: Studio Voice during the final semester of study, concurrent with Senior Recital enrollment
MU 4621: Senior Recital BM students

MU 1340: Voice Class – Learn and apply foundational elements of singing! Various classes offered
each semester. Check the Class Schedule.

MU 2700: Performance Seminar; Voice—Required for all BM students and BA General Music Students
enrolled in Studio Voice; concurrent enrollment. Opportunity to perform Studio Repertoire for
feedback, experience, jury and recital preparation. Offered every semester.

MU 2610: Diction for Singers—Learn the International Phonetic Alphabet and basic application for
singing in English, Italian, German, and French. Required for BM Vocal Performance; Classical students
and open to others. This class is offered as needed. If you do not find it on the master schedule, please
inquire with Dr. Ali concerning when it may be offered next.

MU 3331: Vocal Pedagogy—The Science and Teaching of Singing. Required for all BM students. Check
Class Schedule/Master Plan Document to learn when this class is offered.

MU 3681: Interpretation for Singers—experiment with performance, and perform for the final exam!
Check Class Schedule/Master Plan Document to learn when this class is offered.

MU 4200: Performance Literature (Song Literature)—Survey of Classical Repertoire for Singers from
Baroque to Contemporary periods. This class is offered as needed. If you do not find it on the master
schedule, please inquire with Dr. Ali concerning when it may be offered next.

MU 3621L and MU 3631L: Music Theatre Workshop and Music Theatre Production. Perform scenes
from Musicals, Operas, or Operetta. This is a one-year commitment with Music study and
memorization in Fall and Staging and Performance in Spring. See the Bulletin Board outside of Office
134 for information, or email Dr. Ali. [email protected]

Choirs: Contact Dr. St. Clair for information about auditioning for Chamber Singers or Concert Choir.
[email protected]

“Learning is not attained by chance. It must be sought after with ardor and
attended to with diligence.” -Abigail Adams

17
Accompanist Information and Policies

Cal Poly Pomona Music Department provides a Staff Accompanist to play for Studio Students, Choirs,
Ensembles, and Classes.

Information can be found posted on the Accompanists’ Studio Door—Room 132.

The Staff Accompanist will provide coaching for ensemble and collaboration. These are not lessons,
but coachings—an opportunity to understand the music fully, practice ensemble and prepare for
performances and juries. Your studio voice teacher will work with you for repertoire selection and for
all vocal technique work.

It is a privilege to have an accompanist available for your practice. Many schools do not offer an
accompanist free of charge to the student.

Required coaching as stated below will be calculated into your Studio Voice grade.


The Staff Accompanist will provide coaching to Voice Studio students as follows:
[This policy will vary based upon Studio Voice enrollment.]

MU 1770: Students are required to meet one time per week. Duration of coachings for each semester
is determined by number of students. Coachings will either be 20 minutes or 30 minutes weekly. See
the postings on the door of Studio 132 for detail at the start of each semester.

MU 1811: The accompanist will attend the second half hour of each MU 1811 Studio Voice Student’s
lesson. There will be a few open times set aside in the accompanist’s schedule for you to sign up for
additional time, but this is for occasional meetings, not regularly/not weekly. Sign up on Monday
mornings on the sign up on the door of Studio 132 for these coaching times.

MU 3770: Students are required to meet with the accompanist one time per week outside of lesson
time. You must sign up on the schedule on the door of Studio 132 at the start of the semester. In
addition, the accompanist will attend the 2nd half hour of each MU 3770 Studio Voice Student’s lesson.

MU 3811: Students are required to meet with the accompanist one time per week outside of lesson
time. You must sign up on the schedule on the door of Studio 132 at the start of the semester. In
addition, the accompanist will attend the 2nd half hour of each MU 3811 Studio Voice Student’s lesson.

18
 STAFF COLLABORATIVE PIANIST/COACH POLICY

Dr. Garnica | Office: Rm142, Studio: Rm 132 | email: [email protected] | Phone: 909.869.3552

INTRODUCTION

Working with a collaborative pianist/coach is a musical privilege, and a very important musical relationship.
It fosters better musicianship, chamber music skills, and camaraderie. The more you put into it, the more you
will get out of it.

SCHEDULING

1. The accompanist’s time is very limited. Therefore, it is your responsibility to contact the accompanist and
make sure they have a scheduled time to meet for rehearsals no later than the first day of performance
seminar. If Dr. Garnica is unavailable during any of the student’s preferred times, the student may be
assigned to work with another accompanist.

2. Priority of the accompanist’s schedule will be given as follows:

a. Playing for classes
b. Vocal/instrumental applied lessons
c. Rehearsing with performance/education majors
d. Rehearsing with MIS majors
3. If you are not required to rehearse with your pianist every week (instrumentalists), scheduling may be done
on an as need basis, as availability permits. Please plan accordingly.
4. Please notify your accompanist at least 24 hours in advance if you cancel a rehearsal. We understand this
isn’t always possible with unexpected emergencies. But as a courtesy, please communicate with your pianist,
as it may affect your attendance grade.

ATTENDANCE

It is very important that you respect the opportunity to meet with your accompanist. It is a musical privilege
that isn’t afforded to all music departments.

Attendance is part of your overall studio grade (10%) and will be taken each time you meet with your pianist.
You will be marked as either present or absent. If you are absent, the pianist will try to make up the
rehearsal, but as time is limited, this may not be always possible. If your pianist is absent, it will not count
against you. Examples of missing rehearsals:

Dr. Garnica will be unavailable for some coachings due to other CPP music events. If this affects your
regularly scheduled coaching time, see door of 132 for a list of dates/times for make-up coachings. Please
sign up to reschedule.

1. Student meets with pianist every week of the semester = 15/15

2. Pianist is unable to rehearse for two weeks throughout the semester = 13/13
3. Student misses two rehearsals, pianist misses one rehearsal = 13/14

19
 MUSIC PREPARATION
1. If using original copies, book must be able to lay open flat on the piano.
2. Hand-written music (whether original or photocopy) will be used at the discretion of the pianist. If not
legible, other arrangements must be made.
3. All photocopied music must be contained within a single, plain, black, 3-ring binder, no later than week 2.
Usually a ½-inch to 1-inch thickness is enough, depending on quantity of music.
a. Loose sheets of music are unacceptable and will not be used.
b. Plastic sleeves are not allowed, as they can cause glare, and the accompanist cannot make markings
on the music.
c. Music must not be cut-off on either the top end or the bottom end of the page.
4. All photocopied music must be single-sided, and taped back-to-back. NO STAPLES.
A single piece of tape is required to wrap around the two pages (length-wise) at the very top, and at the very
bottom.
5. If the music is exactly two pages in length, tape is not needed, and the first page must be on the left side, so
as to avoid an unnecessary page turn.
6. If the music is three pages or more in length, please consider how the page turns line up regarding
accompaniment difficulty. This will inform you as to whether the music should begin on the left side of the
page, or the right side of the page. If unsure, please consult with your pianist.
7. Feel free to add a table of contents, tabs, or otherwise organize your music folder as you wish, by
composer/language/etc. While this is not mandatory, it is greatly appreciated and will help facilitate
rehearsals. Let your inner scrapbooking come out!

PERFORMANCE SEMINAR-VOICE
You should have rehearsed Performance Seminar repertoire with accompanist at least twice before each of
your scheduled Performance Seminar-Voice performances.

JURIES
You should have rehearsed ALL repertoire with accompanist before the week of juries. Double-check with
your pianist to make sure they are available for your chosen jury time-slot. Sometimes your pianist will have
to play for multiple juries in quick succession, possibly causing scheduling conflicts.

RECITALS
Your pianist will be available for a pre-recital and dress rehearsal for one hour. It is best to schedule these
during your lesson hour with your teacher present, if possible.
If the pianist cannot stay the full length, he/she will stay as long as possible before their next
appointment/rehearsal, etc. It is possible your pianist may not be able to rehearse or attend your lesson on
account of playing for another student’s pre-recital or dress rehearsal.
Check if your pianist needs a page-turner before the recital. It is an often overlooked, but important factor to
a successful recital.

“Complaints, drama, victim mentality, whining, blaming, and all other excuses have never
gotten you even a single step closer to your goals or dreams. Let go...Let go of the
delusion that you deserve better and go earn it! Today is a new day!”
-Steve Maraboli, Unapologetically You: Reflections on Life and the Human Experience

20
Resources for All Students
Compiled by Dr. Jessie Vallejo

Student Access, Success, Hardship, & Resources:

Cal Poly Pomona is committed to student access and success. There are many resources you
may rely on in the event you need additional support, many of which are offered through
the Learning Resource Center. For more information, see:

http://www.cpp.edu/~studentsuccess/index.shtml

• Learning Resource Center (LRC): Offers tutoring (week 2 - finals), writing help, workshops,
test preparation, & guidance with study skills & stress management.

Location: University Library (building 15), second floor, rooms 2919 & 2921

Phone: 909-869-3502

Email: [email protected]

Web: http://www.cpp.edu/~lrc/student-resources.shtml

• Disability Resource Center (DRC) and ARCHES: Coordinate course accommodations.

Location: Building 9, Room 103

Phone: 909-869-3333

Email: mailto:[email protected]

Web: https://www.cpp.edu/~drc/index.shtml

• Test Center: You may be able to make up an exam if it is missed due to an emergency or
approved reason. Online appointments may be made with approval from Dr. Vallejo.

Web: https://www.cpp.edu/~testcenter/tests/proctored-cpp.shtml

• Advising Centers (e.g., CLASS Student Success Center): If you have advising, curriculum, or
course-related questions, you may check in with one of our campus' Student Success Centers. It
is recommended you meet with the center related to your home college and department.

Web: http://www.cpp.edu/~studentsuccess/directories/advising-directory.shtml

• DACA / Bronco Dreamers: Offers support for DACA students.

Web: http://www.cpp.edu/~deanofstudents/bdrc/bdrc-contacts.shtml

21
Resources for All Students (continued)

• Office of Student Life & Cultural Centers (OSLCC): Several offices offer networking and
support services for students. Examples include the African American Student Center, Women's
Resource Center, Native American Student Center, etc.

Web: http://www.cpp.edu/~oslcc/

• Educational Opportunity Program (EOP):

Web: https://www.cpp.edu/~ssep/eop/about-us.shtml

• Food & Housing Insecurity: CPP's Associated Students Incorporated (ASI) is currently
developing a mobile food pantry known as Sowing Seeds for Life. Check
online (http://www.cpp.edu/~healthcounseling/basic-needs/index.shtml ) with their offices in
the Bronco Student Center or on their website/social media accounts for more information.
There are also resources for students experiencing these hardships nearby:

Local food banks listed here: http://www.cpp.edu/~lrc/student-resources.shtml

Student Affairs, Student Support & Equity Programs, Academic Affairs, Foundation Services,
ASI, and the Cal Poly Pomona Food Justice Club are other organizations that may help
you register for food vouchers or have access to food-related programs. Dr. Vallejo also
recommends Leanne Brown's Good and Cheap cookbook for the budget- and nutrition-minded
chef: https://cookbooks.leannebrown.com/good-and-cheap.pdf

Additional emergency and temporary housing assistance is offered by:

• Contact UHS - University Housing Services

Phone: 909-869-3307

Web: http://www.cpp.edu/~housing/

• City of Pomona Homeless Outreach Office (Jan Cicco, coordinator)

Phone: 909-593-4796

Web: http://www.ci.pomona.ca.us/index.php/housing-division-home/homeless-services

• Survivor Advocates: Supports people affected by sexual violence, abuse, or stalking

Web: https://www.cpp.edu/~healthcounseling/survivor_advocacy/index.shtml

• 211 LA: You may also dial 211 from a phone with an LA County area code for help related to
housing, domestic violence, food insecurity, health, mental health, transportation, substance
abuse, and other needs

Web: https://www.211la.org

22
 Resources for All Students (continued)

• Counseling Services: CPP offers mental health and counseling services

Web: https://www.cpp.edu/~healthcounseling/counseling/index.shtml

• CPP Counseling Hotline @ 909-869-3220, PRESS 2 for crisis support

• Speak to someone 24 hours a day/7 days a week by contacting Los Angeles county's
department of mental health access center at 1-800-854-7771

• Lifeline / National Suicide Prevention Hotline: 1-800-273-8255

• You can also report to your nearest emergency room

• Cal Poly Pomona Project Rebound: Assists formerly incarcerated students at CPP

• Web: http://www.cppprojectrebound.org/CPPAbout.html

• Cal Poly Pomona Veterans' Center: Assists veterans who are now students at CPP

• Web: http://www.cpp.edu/~veterans/

“Maturity is when you stop complaining and making excuses, and start
making changes.”
-Roy Bennett
23
 Appendix:

Forms


Request for Studio Placement Audition

! MIS ! General Music ! BM Program_____________________________________

(two semesters of (four semesters of studio classical, commercial, composition
studio required) required) (Studio required each semester-see advisor for detail)



Please write clearly.

Name___________________________________________Expected Date of Graduation (circle one) SP F Year________

Bronco ID #____________________________________

Email: __________________________________________

I would like to audition at the end of: _______________ _______________

(Fall or Sp) (year)

in hopes of enrolling in Studio Voice beginning: _______________ _______________

(Fall or Sp) (year)

Please see information about preparing for the placement audition in the Voice Handbook. A reference
copy of the Voice Handbook can be found outside of Room MU-134. You may email Dr. Ali to request an e-
copy of the Voice Handbook. You are responsible to read this information in full and prepare correctly
(including paperwork). Failure to follow instructions may delay your entry into the Studio Voice portion
of your studies.

Please submit this form to the Voice Area Coordinator no later than four weeks prior to juries (which
include audition times) each semester. If you are a continuing CPP student auditioning for Fall placement,
please submit a form to audition at Spring juries, or no later than 2 weeks prior to Week Zero of the Fall
semester.

A
 Classical Performance-Voice / Music Education: Lower Division Repertoire Sheet

Sem./Year
Title Composer on jury
Italian

3
German

3
French

3
English Art

3
Contemporary Art*

1 Aria - opera or
oratorio
Other (sacred, MT,
aria, folk, art)

*Eng, Spanish, French, etc.

B

Commercial Performance-Voice: Lower Division Repertoire Sheet


Category Title Composer Term/Year on jury
Italian
1
2
English Art
1
2
French Song/Pop, Art, Etc.
1
German Art Song
1
Great American Song Book /
Standards/Jazz
1
2
3
4

Modern Pop Ballad

1
Classic Pop Ballad
1
Classic Rock Ballad or R&B
1
Classic Country or Folk
1
Music Theatre
1. Legit
2. Belt
3. Pop/Rock
Gospel
1
Spanish Portuguese
1
Other
1
2
3
4
5

C
 Jury Form Sample
Jury Examination Form

Fill out this side of this form and present to the panel of faculty at your jury. Please check with posted information to know how
many copies to provide for your panel.
Jury DATE: __________________ Expected Graduation Semester____ Year______
Circle below:
STUDENT NAME: __________________________________ Freshman / Sophomore / Junior / Senior
Performance instrument or voice: ______________________ Performance / Music Education / MIS / NA
Average number of practice hours per week this semester: _________________
HOW MANY QUARTERS/SEMESTERS OF STUDIO HAVE YOU NOW COMPLETED?
____ lower division ____upper division
Studio Teacher’s Name:____________________________________
This jury is: regular jury upper division audition pre-recital jury make-up jury

Please list all materials studied this semester: etudes, scales and repertoire. An “M” means it was
memorized, “S” means it was performed in seminar class; “P” means you performed it at a showcase or
evening concert; “U” means it was assigned but is unfinished; and “R” means it is from a previous
quarter/semester and you’re keeping it in my repertoire for a future performance.

Jury
Work title Composer / Arranger M, S, P, U, R
selection?

On a separate page:
1. All students: Please describe two goals for the semester and what you have done to meet them.
2. Singers: please attach a paraphrase of all non-English texts and a brief program note (and phonetic reading, if
applicable) about the jury piece.
3. Instrumentalists: please attach a program note about the jury piece. (if performing multiple pieces, choose one for
the program note)
D


RUBRIC
Student Name:
CATEGORY EXEMPLARY TARGET DEVELOPING DEFICIENT

Consistently focused,
Tone Focused, clear and centered, Not controlled- Difficult to discern
clear, and centered;
Quality sometimes less controlled. detracts from performance. intended sound.
controlled

Tempo/ Secure, accurate, and Frequent or repeated errors. Erratic: significantly

Secure and mostly accurate
Rhythm appropriate for style detracts from performance. detracts from performance.

Intonation/
Virtually no errors. Pitch Some errors, but not Frequent and/or repeated Very few accurate or secure
Note
is very accurate. persistent or severe errors. pitches.
Accuracy

Obvious, consistent, and Accurate and consistent Difficult to discern and/or Incorrect or inappropriate
Dynamics
accurate for the style but limited effect ineffective. and ineffective

Consistent and sensitive Somewhat consistent Inconsistent or insensitive to Inconsistent and

Phrasing
to style and sensitive to style. style inappropriate

Musically engaging; Some moments; Technical issues more Technique insufficient;

Musical
meets technical demands technical challenges not prominent than the musical prevents musical
Effect
of work. yet fully met expression. expression

Dress Attire is professional Not dressed appropriately

Stage Commanding, Comfortable, makes eye

Tentative Distracting
Presence charismatic contact

Additional
comments
for this
performer:
(breath,
diction,
bow use,
articulation,
etc.)

This Performance can be generalized as: (circle one, add + or – as needed)

Exemplary Target Developing Deficient
(A) (B) (C) (D) (F) Faculty Signature: ____________________________

D
 Request for Studio – All-inclusive Form (Blue Sheet)
AUDITION/JURY FORM UPCOMING TERM (office fills out): ______________________________

Name Bronco ID Phone email Inst., or voice type Date

CIRCLE OPTION: Perf. classical Perf. commercial Composition Pedagogy (MuEd) MIS General
Studies

Current enrollment, if any: Studio (e.g., MU 1811) ___________________ Instructor: ___________________ Ensemble: ____________________

Including this one, how many terms of studio have you completed? Lower division: _______________ Upper division: ________________

STUDENT FILLS OUT COMMITTEE FILLS OUT
Check below, TYPE OF AUDITION RESULT NOTES
as appropriate
Start or continue studio (regular jury) YES / NO
Upper-Division Eligibility YES / NO
Admission (to the following option): YES / NO

Change of option YES / NO

from: to:
Other (last jury, pre-recital jury, makeup jury, etc.)

PANEL CHAIR SIGNATURE: ________________________________

OFFICE AND COMMITTEE USE ONLY:

NOTES
SCHOLARSHIP recommendation (Dec and Feb auditions only) YES / NO

HONORS RECITAL recommendation (Dec audition only) YES / NO

New Enrollment: Studio class number __________________________________ Instructor _________________________Continued Enrollment:
Next Term Studio class number__________________________ Instructor _____________________________________________
E
Cal Poly Pomona Music Department RECITAL APPROVAL FORM

Date: ________________________________ Bronco number: _____________________

Name:_______________________________ Email:______________________________

Studio Instructor:______________________ Emphasis area:______________________

Recital date: __________________________ Instrument/voice: _________________

1. Student: Take this form to the people listed below for their initials (A and B below). Return it to
the committee chair.

A. Please initial approval of the pre-recital jury date:

Pre-recital date: ________________ Time: _______________ Location: ___________ _____

__________ ___________ __________ _____________ _______________

Teacher Accompanist Technician Comm. Member Committee Chair

B. Please initial approval of the dress rehearsal date:

Dress rehearsal date: __________________ Time: _______________ Location: ___________

__________ ___________ __________

Teacher Accompanist Technician

List equipment needs: ___________________________________________________

________________________________________________________________________

2. Committee Chair: Bring this form to the pre-recital jury for recital approval.

Recital: approved _____ denied ____

Program: approved ______ denied ______ Flyer: approved _________ denied ________

Committee chair: ___________________________________________

Studio teacher: _____________________________________________

Committee member ________________________________________

If the recital, flyer, or program is denied, committee chair should attach the reasons for the denial and the
committee’s suggestions for improvement, changes, and a new pre-recital jury date if necessary.
Ed. 8/27/10