Standards for Accreditation IX.

(1) Standard. Curricular structure, content, and time requirements shall enable students to develop the range of knowledge, skills, and competencies expected of those holding a professional baccalaureate degree in performance as indicated below and in Standards for Accreditation VIII.

(2) Guidelines. Curricula to accomplish this purpose that meet the standards just indicated normally adhere to the following structural guidelines: study in the major area of performance, including ensemble participation, pedagogy courses, independent study, and recitals, should comprise 25–35% of the total program; supportive courses in music, 25–35%; general studies, 25–35%. Studies in the major area and supportive courses in music normally total at least 65% of the curriculum (see Standards for Accreditation III.C. regarding forms of instruction, requirements, and electives).

b. Pedagogy, Accompanying, Collaborative Keyboard. Although coursework in pedagogy and collaborative functions such as accompanying and chamber music is common in the degree Bachelor of Music in Performance, some institutions delay until the graduate level the offering of degree programs in these specialties. The Bachelor of Music in Accompanying, Pedagogy or Collaborative Keyboard is justified only if the institution is adequately staffed and equipped to offer a significant number of specialized courses in the major, including performance studies in the primary instrument. Normally, these occupy at least 25% of the curriculum. Standards for the Bachelor of Music in Pedagogy are found in Standards for Accreditation IX.E. Bachelor of Music programs in performance with less coursework in pedagogy than required are found in Standards for Accreditation IX.E., or with less than 25% coursework in the accompanying or collaborative keyboard major, but more than a small number of survey courses in these fields, may designate pedagogy, accompanying, or collaborative keyboard as an area of emphasis.

c. Early Music. All performance degrees include attention to styles and performance practices. Some programs emphasize certain genres or historical periods. Use of the titles Bachelor of Music in Early Music, Bachelor of Music in Historical Performance, or the equivalent is justified only if the institution is adequately staffed and equipped to offer a significant number of specialized courses in the major, adequate library and instrument resources, and solo and ensemble performance experiences in the field of specialization. Normally, specialized courses provide at least 25% of the curriculum. Programs with less than 25% coursework in the area of historically informed performance, but more than a small number of survey courses in these fields, may designate Early Music, Historical Performance, or the equivalent as an area of emphasis.

d. Related Programs

(1) Musical Theatre. Standards for such programs are found in Standards for Accreditation IX.J.

(2) Voice with Pre-Professional Studies in Opera. Standards for such programs are found in Appendix I.B.

(3) Pre-Professional Studies in Conducting. Standards for such programs are found in Appendix I.D.

2. Specific Guidelines for General Studies. Historical and analytical studies in the arts and studies in foreign languages are recommended for all performers.

3. Essential Competencies, Experiences, and Opportunities (in addition to those stated for all degree programs):

a. Comprehensive capabilities in the major performing medium including the ability to work independently to prepare performances at the highest possible level; knowledge of applicable solo and ensemble literature; and orientation to and experience with the fundamentals of pedagogy. For majors in Early Music, Historical Performance, or the equivalent, the ability to apply aural, improvisational, and language skills, knowledge of styles and performance practices, and general historical and cultural knowledge as required by the focus of the major is essential.

b. For performance majors in voice, the study and use of foreign languages and diction are essential.

c. Solo and ensemble performance in a variety of formal and informal settings. A senior recital is essential, and a junior recital is recommended.

Please see also:

II. Purposes and Operations

III. Music Program Components

IV. Undergraduate Programs in Music

V. Admission to Undergraduate Study

VIII. All Professional Baccalaureate Degrees in Music and All Undergraduate Degrees Leading to Teacher Certification

E. Bachelor of Music in Pedagogy

The Bachelor of Music in Pedagogy may be justified only if an institution is adequately staffed and equipped to offer a significant number of specialized courses and internship opportunities in pedagogy.

Bachelor of Music programs in performance with less work in pedagogy than stipulated by these standards, but more than that normally expected for the performance degree, may designate pedagogy as an area of emphasis.

1. Curricular Structure

a. Standard. Curricular structure, content, and time requirements shall enable students to develop the range of knowledge, skills, and competencies expected of those holding a professional baccalaureate degree in pedagogy as indicated below and in Standards for Accreditation VIII.

b. Guidelines. Curricula to accomplish this purpose that meet the standards just indicated normally adhere to the following structural guidelines: study in the major area of performance, including ensemble participation throughout the program, independent study, and electives, should comprise 20–30% of the total program; supportive courses in music, 20–30%; courses in pedagogy, including comparative methodology and internships, 15–20%; general studies, 25–35%. Studies in the major area and supportive courses in music normally total at least 65% of the curriculum (see Standards for Accreditation III.C. regarding forms of instruction, requirements, and electives).

2. Specific Guidelines for General Studies. Study in such areas as psychology, learning theory, and business is strongly recommended.

3. Essential Competencies, Experiences, and Opportunities (in addition to those stated for all degree programs):

a. Ability to organize and conduct instruction in the major performing medium, including performance at the highest possible level and understanding of the interrelationships between performance and teaching; knowledge of applicable solo, ensemble, and pedagogical literature; the ability to apply a complete set of musicianship skills to the teaching process; and knowledge of applicable technologies, particularly with respect to group instruction.

b. Knowledge of pedagogical methods and materials related to individual and group instruction in a principal performing medium and opportunities to observe and apply these in a variety of teaching situations. This includes an understanding of human growth and development and understanding of the principles of learning as they relate to music teaching and performance. It also includes the ability to assess aptitudes, backgrounds, interests, and achievements of individuals and groups of students, and to create and evaluate specific programs of study based on these assessments.

c. Opportunities for teaching in an organized internship program. Such programs shall be under the general supervision of the pedagogy faculty and shall involve a specific program of regular consultation between students and supervising teachers. At least two semesters or three quarters of supervised teaching are an essential experience.

d. Solo and ensemble performance experience in a variety of formal and informal settings. A senior recital is essential, and a junior recital is recommended.

Music technology, as defined above, may also be an emphasis in Bachelor of Music programs with other majors (see Standards for Accreditation II.I.1.g. and IV.C.6.b.; and Appendix I.H., Section 3.D.3.). In these cases, NASM standards for the major area of specialization will apply; however, the standards for the Bachelor of Music in Music Technology will serve as guidelines as appropriate in the evaluation of student work and the articulation of goals and objectives of the emphasis and overall curriculum.

The Bachelor of Music in Music Technology, however, is intended to produce professional competence in the integration of music and technology in one or more areas of the music technology field, and basic competence in one or more additional areas. The degree requires development of a professional level of competence in music. When an institution has sufficient qualified music and music technology faculty, appropriate technological resources, and is otherwise equipped to offer the kinds of comprehensive music, technology, and music technology courses and curricula that develop these competencies, the offering of the Bachelor of Music degree with a major in music technology is justified.

For further standards and other information regarding music technology, see Appendix I.H.

1. Curricular Structure

a. Standard. Curricular structure, content, and time requirements shall enable students to develop the range of knowledge, skills, and competencies expected of those holding a professional baccalaureate degree in music technology as indicated below and in Standards for Accreditation VIII.

b. Guidelines. Curricula to accomplish this purpose that meet the standards just indicated normally adhere to the following structural guidelines: studies in the music technology area, including music-centered technology applications in the area(s) of focus, should comprise 25–35% of the total program; supportive courses in music (including basic musicianship studies and performance) and technology, 25–35%; general studies, 25–35%. Studies in the major are and supportive courses in music and technology normally total at least 65% of the curriculum (see Standards for Accreditation III.C. regarding forms of instruction, requirements, and electives).

2. Essential Competency Areas, Experiences, Opportunities, and Requirements (in addition to those stated for all professional undergraduate degrees in music):

NOTE: The following standards refer to music technology as a field, and to areas of music technology. Areas of music technology include, but are not limited to, manipulation and recording of sound, live performance, electroacoustic production, live electronics, audio in its multiple forms (e.g., film, game, video, concert and event, audio design, etc.), music pedagogy, research, equipment design and installation, and the development of computer-based tools for music production.

No institution can develop professional-level competency in all of these areas in the context of a professional undergraduate program. Therefore, each institution offering the Bachelor of Music in Music Technology must meet the standards below where indicated in terms of music technology in general, and otherwise in terms of one or more specific areas of music technology chosen by the institution as its area(s) of focus in music technology.

Students must develop a professional level of competency in at least one specific area, and a basic level of competency in a second area. Experiences, opportunities, requirements, and supporting resources must also be compatible with the specific focus area(s) chosen.

The competencies outlined may be developed in various ways. The list of competencies below should not be construed as requiring a separate course for each competency.

a. Essential Competencies

(1) Basic understanding of the scope, integrative nature, and various functions of music technology as a field, including acquaintance with various applications of music technology in music, technological development, research, pedagogy, and in other fields.

(2) Knowledge of and ability to use various terminologies and procedures in music technology, music, and technology, and their combinations as employed in and associated with the work of music technology. This includes, but is not limited to, their respective vocabularies of practice, ways work is conceptualized, developed, synthesized, and finalized, and phases of production, presentation, and/or distribution.

(3) Ability to solve music technology problems, including (a) problem identification, information gathering, solution development, and testing, and (b) knowledge and skill to produce case- specific decisions about what is useful, usable, effective, and desirable during the course of music technology project development and production.

(4) Ability to describe and respond to the needs or expectations of users, audiences, and/or contexts associated with doing professional work in two or more areas of music technology.

(5) Advanced capabilities in specific areas of musicianship consistent with the music technology areas that constitute the degree program’s focus. Aural skills are essential. Abilities to apply advanced knowledge of the properties of musical structures and processes to solving music technology problems are essential.

(6) Fundamental knowledge of current technologies and technological principles widely applicable to music technology, including but not limited to those associated with recording, manipulating, and presenting music and sound, signal flow and processing, music communication protocols, synthesis and interface technologies, sound synthesis, and interactive and generative media.

(7) The ability to use industry standard technologies at a professional level to achieve goals and objectives associated with specific areas of music technology (e.g., Appendix I.H.,
Section 4.C.2.b.). These goals may be in terms such as mastery of production techniques, artistic expression, support for work in other fields, relationships with other technologies and media, and so forth.

(8) Ability to apply knowledge of fundamental science, engineering, and math concepts and other aspects of the science of sounds and the electrical manipulations of sounds in music technology situations.

(9) Basic understanding of connections among music, technology, music technology, and culture, including the evolution of music technology, the impact of technology on music and culture, technological influences on multiple musical styles, including contemporary styles, and their cultural contexts, and information and means for projecting future possibilities in music technology; and basic understanding of these connections with regard to current and emerging Internet- and network-based programs, services, and environments related to the creation, sharing, and distribution of music.

(10) Knowledge of the basic principles, laws, regulations, and ethical considerations and practices associated with music technology and intellectual property as it is both acquired and created by individuals working in the music technology program.

(11) Comprehensive capabilities to use and integrate the above competencies in at least one area of music technology to produce professional-level work in at least one area, and basic-level work in a second area.

b. Relevant Competencies for Area Programs (in addition to those stated above for all music technology programs, and those stated in Standards for Accreditation VIII. for all professional degree programs):

(1) In music technology programs with specific orientation to recording, manipulation, and live performance, competencies include, but are not limited to, advanced knowledge and technical competence in using industry-standard recording and other types of music technology studios and equipment; expertise in the use of music, digital, and other technological interfaces; high levels of aural and music analysis skills; ability to apply scientific knowledge of acoustics, electrical advanced capabilities in audio recording and sound manipulation; capabilities in audio engineering, studio sound, and live performance sound.

(2) In music technology programs with specific orientations to creative production of electroacoustic music and live electronics, competencies include, but are not limited to, advanced knowledge and technical competence in using and creating with technologies, protocols, and techniques associated with analog and digital instruments and various forms of synthesis; interfaces; programming language(s); interactive and generative media; and networks of digital and other instruments; and, the ability to conceive, create, develop, and produce real-time and recorded performances using digital and emerging technologies. Competence in using and creating with various keyboard-based and/or non-keyboard-based controllers and user interfaces is essential. An understanding of compositional principles, logics, narrative structures, and strategies is required.

(3) In music technology programs with specific orientations to one or more audio applications, competencies include, but are not limited to, knowledge of the nature, purpose, and the way work is created for the application and the roles of music technology to conceptualization, development, and production; advanced knowledge of and ability to use industry-standard technology, equipment, labs, and studios to produce work in or for the application; the ability to apply science, computer engineering, and software development skills associated with the application. Experiences should include working together in teams that replicate, insofar as possible, professional working patterns associated with the application.

(4) In music technology programs with specific orientations to music technology in education, competencies include, but are not limited to, advanced knowledge of and ability to use technological means to conceive and develop specific products associated with instruction and evaluation; the ability to create interactive applications for educational purposes; thorough understanding of the elements, natures, and content of musical instruction in areas such as aural perception, music theory, music history, music teacher preparation, composition, and improvisation, and their relationships to the capabilities of current and emerging technology.

(5) In music technology programs with specific orientations to psychology-based research, competencies include, but are not limited to, advanced knowledge of and ability to use technological means for capturing records of behaviors, conducting measurements and assessments, and producing analyses in fields such as acoustics and psychoacoustics, the neuroscience of music, music perception, music cognition, and music performance. Fundamental understanding of the natures and content of research areas and protocols in two or more of these fields is essential. Experiences should include using technology in research settings for research purposes.

(6) In music technology programs with specific orientations to engineering and the creation of technological means, competencies include, but are not limited to, basic knowledge of the science, engineering, and math disciplines integral to the conceptualization, design, development, and production of music technology software, hardware, and equipment. A sample set of these fields includes acoustics, acoustical engineering, electrical engineering, computer science and technology, digital sound processing, and the mathematics required to learn and apply the content of these fields. Advanced knowledge of two or more specific fields of music work in terms of software, hardware, and equipment needs is essential. The ability to conceive and design viable basic solutions to one or more kinds of engineering problems is essential. For standards regarding the representation of music and music technology programs with engineering content, see Appendix I.F. and Appendix I.H., Sections 2.G. and 3.A.

(7) For music technology programs with other areas of focus, competency expectations must be consistent with the content, process, technologies, and product expectations and other requirements associated with professional work in that area.

c. Specific Standards, Competencies, and Guidelines for Supportive and General Studies (in addition to those stated for all professional undergraduate degrees in music):

(1) Consistent with the purposes and requirements of the program, institutions must require studies that support knowledge development in disciplines with direct applications to or connections with the practice of music technology. These disciplines may include, but are not limited to, mathematics, electrical or computer engineering, acoustics, or other sciences. Specific content choices, and the specific approaches to or locations of such studies in courses or curricular structures are the prerogative of the institution.

(2) Studies in mathematics, including college calculus if applicable, are required as may be necessary to support the needs of any electrical or computer engineering or other science-based course mandated by the program or the institution.

(3) Studies in areas such as acoustics, computer science, engineering, physics, music business/industry, digital/interactive media, sound design, broadcast journalism, mass communication, film studies, cultural studies, mathematics, and expository writing is strongly recommended.

d. Experiences, Opportunities, and Project Requirements

(1) Regular access to instruction and evaluation by faculty with the educational and professional backgrounds in music technology and associated disciplines to develop the competencies listed above both in general and in the music technology areas that are the focus of the degree. Appropriate backgrounds must include more than specific software or hardware skills (see Standards for Accreditation II.E.; and Appendix I.H., Section 5.A.).

(2) Regular access to appropriate technology, equipment, and staff necessary for the development and professional production of work in the music technology areas that are the focus of the degree. Consistent with the purposes and content of the program, technology and equipment must align with disciplinary/industry standards (see Standards for Accreditation II.F. and G.; and Appendix I.H., Section 5.B.).

(3) To ensure that opportunities can be fully realized, programs that require student purchase of computers should provide the technological infrastructure and staff to support use of privately owned machines in music technology workspaces, studios, and classrooms. The institution should be cognizant of industry preferences for certain operating systems, computer platforms, and software in setting computer purchase requirements and infrastructure support.

(4) Regular experiences and advanced practicums associated with producing work in the primary focus area of music technology must be provided. Students must have sufficient time with studios and equipment to develop their knowledge and skills and to complete required projects.

(5) Opportunities to work with a variety of musical genres and styles are strongly recommended.

(6) Internships in industry or the equivalent are strongly recommended.

(7) A final project demonstrating competence in at least one area of music technology must be required for graduation. The final project and other demonstrations of competence at senior year must show readiness to produce work in one or more music technology areas at a professional level.

e. Guidelines

(1) Normally, the institution maintains a program of regular consultation with professional practitioners in music technology.

(2) Normally, institutions maintain a counseling program to provide students with a realistic assessment of job opportunities and professional requirements as appropriate to individual aptitude, professional interest, and academic progress.

(3) Normally, institutions make a thorough assessment of each student’s performance during internship experiences and use such assessment in the counseling process in general and with areas of music technology specialization that constitute the degree program’s focus.

2. Program Content. In addition to the common core of musicianship and general studies, the musician electing a career in school-based teaching must develop competencies in professional education and in specific areas of musicianship. Professional education components should be dealt with in a practical context, relating the learning of educational principles to the student’s day-by-day work in music. Students must be provided opportunities for various types of observation and teaching.

Within the curricular guidelines above, attention should be given to breadth in general studies, attitudes relating to human, personal considerations, and social, economic, and cultural components that give individual communities their identity.

3. Desirable Attributes, Essential Competencies, and Professional Procedures

a. Desirable Attributes

The prospective music teacher should have:

(1) Personal commitment to the art of music, to teaching music as an element of civilization, and to encouraging the artistic and intellectual development of students, plus the ability to fulfill these commitments as an independent professional.

(2) The ability to lead students to an understanding of music as an art form, as a means of communication, and as a part of their intellectual and cultural heritage.

(3) The capability to inspire others and to excite the imagination of students, engendering a respect for music and a desire for musical knowledge and experiences.

(4) The ability to articulate logical rationales for music as a basic component of general education, and to present the goals and objectives of a music program effectively to parents, professional colleagues, and administrators.

(5) The ability to work productively within specific education systems and promote scheduling patterns that optimize music instruction.

(6) The ability to maintain positive relationships with individuals of various social and ethnic groups, and be empathetic with students and colleagues of differing backgrounds.

(7) The ability to understand, apply, and practice principles of professional ethics.

(8) The ability to evaluate ideas, methods, and policies in the arts, the humanities, and in arts education for their impact on the musical and cultural development of students.

(9) The ability and desire to remain current with developments in the art of music and in teaching, to make independent, in-depth evaluations of their relevance, and to use the results to improve musicianship and teaching skills.

The following competencies and procedures provide means for developing these attributes:

b. Music Competencies. The profession of school music teacher now encompasses a wide range of traditional, emerging, and experimental purposes, approaches, content, and methods. Each institution makes choices about what, among many possibilities, it will offer prospective specialist music teachers. Institutions may offer a comprehensive curriculum involving two or more specializations and/or focus on one or more particular specializations. The following standards provide a framework for developing and evaluating a wide variety of teacher preparation program goals and achievements.

NOTE: Standards for Accreditation IX.O.3.b.(1)–(4) apply to all programs that prepare prospective music teachers. Standards for Accreditation IX.O.3.c.(1)–(5) apply to specializations singly or in combination as determined by the focus and content of specific program offerings determined by each institution.

In addition to those basic competencies outlined in Standards for Accreditation IV. and VIII., the following apply to the preparation of music teachers:

(1) Conducting and Musical Leadership. The prospective music teacher must be a competent conductor, able to create accurate and musically expressive performances with various types of performing groups and in general classroom situations. Instruction in conducting includes score reading and the integration of analysis, style, performance practices, instrumentation, and conducting techniques. Laboratory experiences that give the student opportunities to apply rehearsal techniques and procedures are essential. Prospective teachers in programs with less focus on the preparation of ensemble conductors must acquire conducting and musical leadership skills sufficient to teach effectively in their area(s) of specialization.

(2) Arranging. The prospective music teacher must be able to arrange and adapt music from a variety of sources to meet the needs and ability levels of individuals, school performing groups, and in classroom situations.

(3) Functional Performance. In addition to the skills required for all musicians, functional performance abilities in keyboard and the voice are essential. Functional performance abilities in instruments appropriate to the student’s teaching specialization are also essential.

(4) Analysis/History/Literature. The prospective music teacher should be able to apply analytical and historical knowledge to curriculum development, lesson planning, and daily classroom and performance activities. Teachers should be prepared to relate their understanding of music with respect to styles, literature, multiple cultural sources, and historical development, both in general and as related to their area(s) of specialization.

c. Specialization Competencies. Institutions and other educational authorities make decisions about the extent to which music teachers will be prepared in one or more specializations. The following competencies apply singly or in combination consistent with the specialization objectives of each teacher preparation program in music.

(1) General Music. Listed below are essential competencies and experiences for the general music teaching specialization:

(a) Musicianship, vocal, and pedagogical skills sufficient to teach general music.

(b) Knowledge of content, methodologies, philosophies, materials, technologies, and curriculum development for general music.

(d) Laboratory and field experiences in teaching general music.

(2) Vocal/Choral Music. Listed below are essential competencies and experiences for the vocal/choral teaching specialization:

(a) Vocal and pedagogical skill sufficient to teach effective use of the voice.

(b) Knowledge of content, methodologies, philosophies, materials, technologies, and curriculum development for vocal/choral music.

(d) Performance ability sufficient to use at least one instrument as a teaching tool and to provide, transpose, and improvise accompaniments.

(e) Laboratory experience in teaching beginning vocal techniques individually, in small groups, and in larger classes.

(3) Instrumental Music. Listed below are essential competencies and experiences for the instrumental music teaching specialization:

(a) Knowledge of and performance ability on wind, string, and percussion instruments sufficient to teach beginning students effectively in groups.

(b) Knowledge of content, methodologies, philosophies, materials, technologies, and curriculum development for instrumental music.

(d) Laboratory experience in teaching beginning instrumental students individually, in small groups, and in larger classes.

(4) Music: All Levels, All Specializations. Listed below are essential competencies and experiences for programs whose published purpose is to prepare teachers in all or several areas (e.g., general, vocal/choral, instrumental, other). To fulfill this purpose consistent with this and other applicable standards, all of the specialization areas chosen are included in some manner in the curriculum as a whole. Specific forms of inclusion, proportions, and assignments are the responsibility of the institution.

(a) Knowledge and skills sufficient to teach beginning students on instruments and/or in voice as appropriate to the chosen areas of specialization.

(b) Knowledge of content, methodologies, philosophies, materials, technologies, and curriculum development in music education.

(d) Experiences in ensembles. Ensembles should be varied both in size and nature.

(e) The ability to lead performance-based instruction in a variety of settings.

(f) Laboratory experience in teaching beginning students in a variety of specializations.

(5) Specific Music Fields or Combinations. Listed below are essential competencies and experiences for music teaching specialization(s) focused on either one or a combination of areas such as composition, electronic and computer music, ethnic music, guitar, small ensembles, jazz, keyboard, orchestral music, music history and theory, music in combination with other disciplines, music technologies, music in multimedia, and popular music; or combinations of one or more of these types of content with aspects of the general, vocal/choral, or instrumental specializations:

(a) Knowledge and skill in the selected area(s) of specialization sufficient to teach beginning and intermediate students effectively.

(b) Knowledge of content, methodologies, philosophies, materials, technologies, and curriculum development for the area(s) of specialization.

(c) In-depth experiences with the creative and/or performance and/or scholarly aspects of the selected area of specialization as required by the nature and content of that specialization.

(d) The ability to use instruments, equipment, and technologies associated with the area(s) of specialization.

(e) Laboratory experience in teaching beginning students in the area(s) of specialization, individually, in small groups, and in larger classes.

d. Teaching Competencies. The musician-teacher must be able to lead students to competency, apply music knowledge and skills in teaching situations, and integrate music instruction into the process of P–12 education. Essential competencies are:

(1) Ability to teach music at various levels to different age groups and in a variety of classroom and ensemble settings in ways that develop knowledge of how music works syntactically as a communication medium and developmentally as an agent of civilization. This set of abilities includes effective classroom and rehearsal management.

(2) An understanding of child growth and development and an understanding of principles of learning as they relate to music.

(3) The ability to assess aptitudes, experiential backgrounds, orientations of individuals and groups of students, and the nature of subject matter, and to plan educational programs to meet assessed needs.

(4) Knowledge of current methods, materials, and repertories available in various fields and levels of music education appropriate to the teaching specialization.

(5) The ability to accept, amend, or reject methods and materials based on personal assessment of specific teaching situations.

(6) An understanding of evaluative techniques and ability to apply them in assessing both the musical progress of students and the objectives and procedures of the curriculum.

e. Professional Procedures. In order to implement programs to achieve the competencies identified in the foregoing sections, the following standards and guidelines apply:

(1) Program purposes and requirements must be clear to prospective students, the profession, potential employers of graduates, and the public.

A program may focus on an area of specialization as listed in Standards for Accreditation IX.O.3.c.(1)–(4). A program may focus on the traditional vocal/choral/general/instrumental combination. A program may have a unique focus or purpose that combines two or more of the many possible specializations as listed in Standards for Accreditation IX.O.3.c.(5). Whatever choices are made about purpose and focus, degree titles and descriptions must be consistent with curricular content and requirements. The following information must be clearly stated for each music teacher preparation program offered by an institution:

(a) The specific area(s) included in a comprehensive or specialization-focused program.

(b) The subject matters to be addressed in the program and in supportive areas.

(d) Expectations for the development of artistic, intellectual, and pedagogical competencies, and specifically, what students must know and be able to do in order to graduate from the program.

(e) The relationship of program purposes, content, and graduation expectations to licensure requirements.

(2) Music education methods courses should be taught or supervised by the institution’s music education faculty who have had successful experience teaching music in elementary and/or secondary schools, and who maintain close contact with such schools.

(3) Institutions should encourage observation and teaching experiences prior to formal admission to the teacher education program; ideally, such opportunities should be provided in actual school situations. These activities, as well as continuing laboratory experiences, must be supervised by qualified music personnel from the institution and the cooperating schools. The choice of sites must enable students to develop competencies consistent with standards outlined above, and must be approved by qualified music personnel from the institution.

(4) Institutions should establish specific evaluative procedures to assess students’ progress and achievement. The program of evaluation should include an initial assessment of student potential for admission to the program, periodic assessment to determine progress throughout the program, and further assessment after graduation.

(5) Institutions should provide opportunities for advanced undergraduate study in such areas as conducting, composition, and analysis.

Hey! I am first heading line feel free to change me

II. Purposes and Operations

III. Music Program Components

IV. Undergraduate Programs in Music

V. Admission to Undergraduate Study

VIII. All Professional Baccalaureate Degrees in Music and All Undergraduate Degrees Leading to Teacher Certification

Appendix I.D. Standards and Guidelines for the Education and Training of Conductors: Choral, Orchestral, Wind

P. Five-Year Program in Music Education

1. Five-Year Program Leading to Two Baccalaureate Degrees

a. This program satisfies the requirements for two differing degree programs, such as:

(1) The Bachelor of Music degree, typically comprising one-third general education and two-thirds music; or

(2) The Bachelor of Arts (music major) degree, typically comprising one-third general education, one-third music, and one-third electives; and

(3) The Music Education degree.

b. The dual degree program must be considered as an integral plan, not merely the superimposition of one curriculum upon another. Ideally, the integrated program would result in the awarding of the two degrees only at the end of the five-year period. The total hours of credit for the two degrees will approximate 150–165.

2. Post-Baccalaureate Studies. The requirement or encouragement of periodic collegiate study by teachers in service is established practice in many states and localities. In recent years, certain states have moved to withhold final certification until completion of an additional year’s study (30 semester credits). The inherent purpose is to remedy shortcomings and develop new specialization interests discovered on the job.

Such requirements may be satisfied by pursuit of a master’s degree for which the individual is qualified; or a more structured course of study may be developed which might properly include subjects at either the graduate or the undergraduate level. The latter plan calls for one or more courses in the following fields as prescribed by the local institution:

a. Music theory

b. Music history and music literature

c. Musicology or ethnomusicology

d. Principal performing field

e. Secondary performing field(s)

f. Philosophy, organization, or supervision of music education

g. Related academic fields

h. Related areas in professional education

3. Intra-Institutional Articulation of Baccalaureate and Post-Baccalaureate Degrees to Complete Certification Requirements. This standard is applicable when the following two conditions are present:

a. An institution offers an undergraduate degree with required studies in music and music education intended to prepare school music teachers but without the full set of curricular and other requirements necessary to produce eligibility for certification; and

b. Such an undergraduate degree is structured or publicly identified as qualifying the graduate to enter the institution’s Master of Arts in Teaching or other post-baccalaureate program intended to complete requirements for certification as a specialist music teacher.

When conditions a. and b. are both present, the aggregated requirements of the institution’s articulated undergraduate and master’s degree or post-baccalaureate credential in teacher preparation must meet all NASM standards for the professional undergraduate degree in music education outlined in Standards for Accreditation IX.O., irrespective of any other completion requirements that either of the two courses of study may have.

Standards for Accreditation IX.O. include knowledge, skills, and competencies in music, music education, and professional education, as well as general studies.

Standards for Accreditation IX.

IX. Specific Professional Baccalaureate Degrees in Music

A. Bachelor of Music in Performance

B. Bachelor of Music in Music Theory

C. Bachelor of Music in Composition

D. Bachelor of Music in Music History and Literature

E. Bachelor of Music in Pedagogy

F. Bachelor of Music in Jazz Studies

G. Bachelor of Music in Music Technology

H. Bachelor of Music in Sacred Music

I. Bachelor of Music in Worship Studies

J. Bachelor of Music in Musical Theatre

K. Bachelor of Music with Studies in Business and/or Music Industry

L. Bachelor of Music with Studies in Recording Technology and/or Electrical/Computer Engineering

M. Baccalaureate Degree in Creative Multidisciplinary Convergence and Technologies (CMCT)

N. Baccalaureate Degree in Music Therapy

O. Baccalaureate Degree in Music Education

P. Five-Year Program in Music Education

Please see also the following standards:

See also:

See also:

See also:

Please see also:

See also:

See also:

See also:

See also:

See also:

See also:

See also:

Hey! I am first heading line feel free to change me

See also: