Elevating student success
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Proposal for a New Academic Program ELEVATING STUDENT SUCCESS: As you develop the content, pedagogy and delivery method of your program, keep in mind how your program is culturally responsive, reflects a diversity of voice and accounts for a wide variety of learning styles. For insights into the diversity of some of our students, click here. College/School: COTA/ School of Music Department/Program: Proposed title of New Program: B.A./ B.S. in Sonic Arts and Music Production Proposed Effective Term: F2017 1. Program Description
The Sonic Arts and Music Production program at PSU will be the only degree offered in the School of Music to explore the artistic and musical possibilities that technology facilitates. With a firm foundation in music theory and acoustics, students will pursue new sounds, new instruments, and new methods of performance and composition. They will engage multiple creative contexts including recording arts, mixing and mastering, working with visual media, live interactive performance, sound installations, and online possibilities. In an environment that combines music, art, science, coding, and design, students will develop tools that prepare them for leadership in artistic, technical, educational, entrepreneurial, and research efforts. Broad in its conception and inclusive in its content, this degree seeks to reach students from a wide variety of backgrounds and with a wide range of interests. This will be our first degree to reach students lacking a traditional background in music and literacy with music notation. Rather, students curious about how to combine their love of technology with their desire to create and facilitate sonic and musical projects will find a welcome place in this program. Our wide-ranging curriculum provides a foundation of music theory relevant to contemporary musical styles, rudimentary piano skills, ensemble experience, music history and culture classes, music business, and the heart of the program, six core classes which immerse students in music technology and the creative possibilities the technology enables. We are partnering with PCC Cascade, which is offering an Associate of Applied Science Degree in Music and Sonic Arts. Their first term is happening now in F2016 and they have experienced a 40% jump in enrollment, showing the demand locally for this type of degree. Our program shares similar objectives, and with coordinated advising and equivalency agreements, we expect that their program will be a natural pipeline for ours.
Bachelor of Arts/Science in Sonic Arts and Music Production (SAMP)
MUS 045 Portfolio Review 0 MUS 101, 102, 103 Contemporary Music Theory 12 MUS 188 Performance Attendance (6 terms required) 0 MUS 191, 192, 193 Group Lessons for Beginners: Piano 6 MUS 194, 195, 196, 197, or 198 Large or Small Ensemble 3 MUS 225 Music Technology Lab 3* MUS 245 SAMP I: Audio Recording 3 MUS 246 SAMP II: Studio Techniques 3 MUS 247 SAMP III: Studio Production 3 MUS 345 SAMP IV: Acoustics for Musicians 3 MUS 346 SAMP V: Music with Visual Media 3 MUS 347 SAMP VI: Integrated Sound Arts 3 MUS 344 SAMP: Laptop Ensemble 3* Two of the following: 8 MUS 301, 302 Survey of Music Literature MUS 355 Jazz History MUS 365 Film Music MUS 374, 375 World Music MUS 376 American Musical Traditions MUS 377 World Music: Latin America and The Caribbean
MUS 476 Computer Music Composition 3 Upper Division Music Electives 7 66 * MUS 225 Music Technology Lab and MUS 325 Laptop Ensembles are one credit repeatable courses. Students need to complete 3 terms of each.
Lincoln Hall will be the location of the program and all required music classes. The School of Music controls its own spaces and schedule. One of the main spaces we will utilize is LH326F, a lab with 20 computers, music software, keyboards, and additional hardware relevant to music. Behind this lab are two additional spaces, LH326D and LH326E which will serve as sound recording rooms. In addition, we have state of the art recording equipment and sound reinforcement equipment in LH75, Lincoln Recital Hall, our main space for live performance, which we will also use for this program.
Students will submit portfolios at the end of their first year of study or upon transferring to PSU. The portfolio submission will include two creative projects (audio or video files) and a written statement of purpose to be evaluated by the SAMP program committee. We will limit student participation to 25 in each class to ensure that our technology and faculty resources are adequate for the program. Transfer students will need a GPA of at least 2.5 to be considered into this program. Effectiveness of the program will be monitored extremely closely in the first few years, and students in SAMP classes will be asked for feedback to help us understand what we are doing well and what we could be doing better.
SAMP is the first degree path that the School of Music offers which does not require a performance background and literacy with music notation. We expect that the loosening of this particular requirement as well as the emphasis on technology in the program will have profound effects on the potential diversity of the student body. We believe that our partnership with PCC Cascade, Portland’s only community college campus located in a traditionally African-American neighborhood will increase the possibility of racial and economic diversity within our program. Likewise, students are encouraged to come to the SAMP Program from multiple cultural and artistic vantage points including jazz, blues, rock, funk, hip-hop, etc… where voices of artist of color are seminal to the artistic expression explored. Additionally, the emphasis on creative expression and design allow for an inclusive student experience which accounts for a culturally-diverse student mix with a wide diversity of learning styles. We expect students to thrive at different aspects of the curriculum we present. For example, some students will thrive in a live-performance environment where they take center-stage in the creation of an innovative new work, while others will prefer to take a back-seat role and document this performance by creating a meticulous digital recording. There is no single creative role or career path or aesthetic vantage point we seek to encourage. Rather we feel our program will be stronger and healthier with the inclusion of students with diverse strengths and goals.
Anticipated headcount for F2017 is 15-20 students. Anticipated headcount for F2018-F2019 is an additional 25 students per year. Estimated SCH for the first five years (SCH in School of Music, does not include general-ed SCH) 2017-2018 SCH ~306 (17 students, 6 music credits per term) 2018-2019 SCH ~756 (42 students, 6 music credits per term) 2019-2020 SCH ~ 1,116 (62 students, 6 music credits per term) 2020-2021 SCH ~1,440 (80 students, 6 music credits per term) 2021-2022 SCH~ 1,440 (80 students, 6 music credits per term) Current annual SCH for the School of Music is 14,850 SCH, so the estimated increase in SCH for the School of Music will be: 2017-2018 – increase of 2.2% compared with 2016-2017 2018-2019 – increase of 5% compared with 2016-2017 2019-2020 – increase of 7.5% compared with 2016-2017 2020-2022 – increase of 9.7% compared with 2016-2017 By F2020 we predict that we will be operating near capacity which will bring an increase of almost 10% SCH to the School of Music when compared with F2017 Faculty FTE needed to offer this degree annually will be: Non-Tenure-Track Faculty FTE .58FTE – 21 credit hours Adjunct hours needed – 6 credit hours
We are hoping for a retention rate of 80-90% which we would lead to the following matriculation rates: S2021 ~14 students graduate S2022 ~ 21 students graduate S2023 ~ 21 students graduate S2024 ~ 21 students graduate S2025 ~ 21 students graduate We estimate that approximately 98 students would matriculate form this program by S2025.
We expect this degree to appeal most highly to resident students. Estimated enrollment of resident students is 90%, with a 70/30 mix of full-time and part-time students. The additional 10% is most likely to come from Washington, and may also be part-time students. While we think this degree path is most attractive to first-time college students and transfer students from community colleges, we do expect some post-bacc and non-traditional students earning their first baccalaureate degree.
We have three fulltime faculty and one adjunct faculty member with abundant experience teaching music technology, composing electroacoustic and commercial music, and working in the industry. We will not need to hire any additional faculty at this time to implement the program. A number of changes in our faculty makeup have enabled us to re-prioritize load allocation for existing faculty to make this happen.
We have three full-time faculty and one adjunct who will teach core classes for this new degree:
The School of Music has two support staff (OS2 positions), One Program and Operations Manager, a Director, and an Associate Director. The Director of the School of Music will oversee curriculum, scheduling, assessment, marketing, advising, and recruiting for this new degree. The Associate Director will assist with advising and assessment. The Program and Operations Manager will manage course fees, course listings, purchasing, and budget management for the program. The additional two support staff will provide support in the way of online marketing, room scheduling, and communication to new students.
PSU’s School of Music has a state-of-the-art computing lab, with 20 computers, and five laptop stations complete with music software, keyboards, and related hardware. Behind this lab are two additional spaces, LH326D and LH326E which will serve as sound recording rooms. In addition, we have a sound recording booth and cutting-edge recording equipment in LH75, our main recital hall, and we have multiple portable recorders with digital microphones to take on location for recording projects. We are committed to keeping these resources up-to-date, and we plan to use a fee in our SAMP classes of $75 per registered student per term to create a usable budget available to use for the maintenance of the equipment we have and the acquisition of new equipment as the program needs dictate. Kristen Kern, our fine arts library at PSU, has confirmed that our current library resources are adequate for the needs of the SAMP program. She is ordering copies of textbooks for new courses we are developing.
Our anticipated start date is Fall 2017. We expect a smaller incoming class in the first year to be followed by a large class in Fall 2018. Our partner institution, PCC Cascade is experiencing extremely high enrollment in their Music and Sonic Arts program, and we are collaborating with them to offer transferring students course equivalencies and upper division placement to enable a smooth transfer between institutions. 2. Relationship to Mission and Goals
PSU’s Mission states that we pursue excellence through accessibility; innovation; collaboration; engagement; sustainability; and transformation. The Sonic Arts and Music Production program will be highly accessible and will accommodate a wide variety of learners and interests. The learning outcomes of our program are broad enough to serve students who come from diverse technological and creative vantage points. The curriculum for SAMP values innovation and exposes students to possibilities which transform the way we think about creativity. Collaborations within and outside of the college will be encouraged, and the ability for students to bring their own creative voices into their scholarly and creative work will keep them engaged.
Under the strategic priority of “Elevate student success,” you will find the first initiative, “Put students first.” This program does exactly that by offering a program of study which meets students at the place of their greatest inspiration. Likewise, “catalyze new ideas” is an initiative which speaks to the entire degree proposal and curriculum. We believe it will meet the strategic priority of “Innovate for long-term stability” by rethinking what kind of degree path we can offer in the School of Music. Students will be inspired by their ability to take an active role in the catalyst of new ideas.
Current jobs in music technology in the state of Oregon are likely to be staffed with students who earned degrees outside the state. Portland, Oregon has been considered to be a creative hotspot, and with the infusion of creative projects in the music industry, film, television, video games, etc., comes the need for greater training in audio arts. We will enhance the relationships possible between the SAMP program and needs in the creative community by connecting students with potential work and/or internships. The film area has done this with the tv show Portlandia, and a number of our students have had the opportunity of working on set with the production crew. We will look for similar opportunities for our SAMP students and graduates. 3. Accreditation
As a School of Music, all of our professional degrees are accredited through National Associate of Schools in Music. However, they don’t accredit our B.A./B.S. degrees. So, the professional accreditation body for our new degree will be the same one which oversees our current B.A./B.S. degrees: Northwest Commission on Colleges and Universities
The BA/BS in Sonic Arts and Music Production follows the same B.A./B.S. requirements that all PSU B.A./B.S. degrees follow. Of the 66 required credits students take in the School of Music, 33 of these are upper division. The high concentration of upper division credits will help students meet the 72 minimum upper division credits which the University requires. We are confident that it will receive a stamp a positive accreditation from the Northwest Commission on Colleges and Universities.
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We have contacted Northwest Commission on Colleges and Universities who are working with us and with Brian Sandlin in OAA to submit this program for approval while it simultaneously goes through the program approval process at PSU. Because this program is housed in an academic unit which already offers BA/BS degrees, it is considered a “minor change” and will not require an accreditation visit. The approval process can take up to one calendar year. 4. Need a. Evidence of market demand (market analysis). In 2014-2015 we sent a survey to Portland area high school music teachers asking what new academic focuses they would like to see us develop for their students. Music production was the number one requested focus, with music theater a distant second. Prospective students in the past ten years have consistently inquired about the possibility of a program in music production. Some have tried to enroll in our B.M. in Composition because it seemed the closest to their interests. The B.M. in Composition, however, is a music notation based program with in emphasis in concert music, and therefore it is not well-suited for students without a significant background in music performance. In addition, we currently have no degrees which admit students on the basis of a creative portfolio instead of a performance audition. Last year we learned of PCC Cascade’s plan to offer a two-year degree in Music and Sonic Arts. Upon learning more about each other’s proposed plans, we decided to partner together to streamline a potential route for students to begin at PCC Cascade and transfer to PSU with an Associates Degree. Fall 2016 was the first term of the new Associate’s Degree in Music and Sonic Arts at PSU, and their enrollment in music increased by 40% this fall! We are very excited to learn of their enrollment as a partner institution because it is evidence of the high demand that students have placed on music production programs. We expect to gain many transfer students in two years time. b. If the program’s location is shared with similar programs (other OUS universities or private institutions), proposal should provide externally validated evidence of need (e.g., surveys, focus groups, documented requests, occupational/employment statistics and forecasts). The SAMP program at PSU will be the first baccalaureate degree in Portland offering a curricular focus in music production. Community colleges in the area offer certificates and Associate degrees, including Clackamas Community College’s Music Performance and Technology Associate of Applied Science Degree and PCC Cascade’s Music and Sonic Arts Degree. We are working closely with these institutions to develop appropriate academic pathways for successful students in their programs to continue at PSU and earn a B.A. or B.S. in our new SAMP program. We have an especially close working relationship with PCC Cascade whose faculty and staff is working with us on curricular content and advising to better ensure a smooth transition for students starting in their program and transferring to PSU to complete a Bachelor’s degree. Beyond our local community colleges, there are a few programs in the state with related undergraduate programs, discussed in turn below:
We feel that the intention and curriculum of the SAMP program is different from any other program currently offered in the state of Oregon. Furthermore, we feel that our location in Portland will enable partnerships with recording studios, production companies, film projects, and other creative endeavors, something that programs in rural parts of the state cannot provide. Finally, we believe that the demand for this field of study among young students should enable all existing music technology programs in the state of Oregon to continue to be successful. c. Manner in which the program would serve the need for improved educational attainment in the region and state. We believe that the SAMP program at PSU will lead to students finishing a Baccalaureate degree because the program is inspired by student demand. Research shows that individuals who finish a Bachelor degree will earn more and enjoy richer job opportunities than those without this credential. There is a relationship between student retention and how relevant an individual finds their program of study. Because of student demand and industry interest, we believe that students will find the SAMP program to be both relevant and inspirational. We believe this will help students attain the goal of earning a degree. 5. Outcomes, Quality Assessment and Student Experience a. Expected learning outcomes of the program. Students completing this program will be able to:
b. Methods by which the learning outcomes will be assessed and used to improve curriculum and instruction. The Director working collaboratively with faculty in this program will assess program learning outcomes, using the LEAP “Principles of Excellence” as a guiding framework to ensure that the assessment generates useful information that can immediately be applied to continuously improve the curriculum. Further, formal student evaluations, instructor feedback, and on-line student critical reflections on key components of the degree will be utilized, especially in the evaluation of the six core classes. Quantitatively, we intend to monitor the number of new majors and, in collaboration with the COTA Advising Center, track students’ progression through the program. c. Program performance indicators, including prospects for success of program graduates (employment or graduate school) and consideration of licensure, if appropriate. We will measure how successfully we are meeting our program goals by keeping a running log of students’ next steps after graduating with a BA/BS in Sonic Arts and Music Production. We expect many will be able to find work as a recording technician, music production assistant, sound designer, or other related career. Others will enroll in graduate and certificate programs in film music, media studies, computer music, and other related degrees. d. Nature and level of research and/or scholarly work expected of program faculty; indicators of success in those areas. We are fortunate to have among our faculty experienced practitioners and leaders in music technology, computer music composition, recording arts, commercial music, sound art, and music production. This degree emphasizes the cohesion of creativity and technology, and our faculty’s scholarly work consists of recording projects, original studio compositions, compositions integrating live interactive performance elements, sound art installations, research in sound and perception, and countless other creative contributions. In addition to staying active in their creative work, we will invest in faculty’s ability to stay current by supporting travel to conferences in the field of music technology, seminars teaching advanced applications, and other faculty development opportunities. Bonnie Miksch, Program Coordinator and Full Professor, is a composer of both acoustic and electroacoustic music. As a creator of live, interactive electroacoustic music, her works has been chosen for performances at ICMC, International Computer Music Conference (Beijing, Singapore, Berlin, Thessaloniki), SEAMUS, Society of Electroacoustic Music in the US, and the Third Practice Electroacoustic Festival. A recent review of her electroacoustic CD Every tendril, a wish received the following accolade. “This promising disc affirms Miksch’s ascension to the top rank of Oregon composers..."Brett Campbell - Eugene Weekly. Jon Newton, Senior Instructor, has decades of experience as a music producer. In the early 90’s he founded a studio in Portland, Newton Bard Inc., which was an early adopter of digital audio and MIDI technology. While at Newton Bard, Jon composed and produced scores for five theatrically released feature films and produced music and audio for hundreds of television/radio spots and corporate videos. He also served as development director and composer for an animation company in Portland and LA, where he supervised production of several TV and film projects. Jon also works as beta tester for two prominent music production software applications. Andrew Willette, Instructor, is an established recording engineer, producer, and arranger. His recordings with “The Ensemble” have been featured on OPB, and his work incorporating music technologies in the reconstruction and production of 19th century band music from the Aurora Colony has produced numerous new scores for concert band and two distinguished recordings. His work with the Aurora Colony has received two awards; the Heritage Excellence Award from The Oregon Heritage Commission and National Award of Merit from the American Association for State and Local History. Among our adjunct faculty for this program, we are fortunate to have Burke Jam, whose work is immersed in the areas of sound art and acoustic ecology. Considering the lenses of perception, perspective, and place, his research investigates a critical theory of sound as phenomenon and art object. In 2013 he received a Fulbright Grant to Iceland where he spent a year of research synthesizing the relationship between physical place, environmental sound and perceptual coherence. In 2016 Burke served as a Field Guide for the Portland Institute of Contemporary Art’s Presentation of Japanese sound artist Tetsuya Umeda. He was a guest curator for PICA’s Time Based Arts Festival, including the design engeneering and deployment of a 10-channel surround sound speaker array to present live work by composer and sound artist Amenta Abioto. He served as a committee member for Portland’s Open Signal: New Media Fellowship. He currently serves on Portland State University’s Fulbright Review Committee and co-curates an international immersive listening series Blind Coven, with Brisbane based curator and artist Melody Woodnut. In June of 2017 Burke will return to Iceland for two weeks of field research focusing on acoustic ecology in the arctic and role in climate change. Utilizing comparative data, collected field recordings and compositional technique, this research explores possibilities of understanding the rapidly changing natural environment and the critical roll the sonic plays in our relationship to it. e. Methods by which the student experience will be assessed and used to improve curriculum and instruction. Student course evaluations and online surveys to assess the nature of students’ experiences in this program will be used to help improve curriculum and instruction. 6. Program Integration and Collaboration
Potential internal partners include but are not restricted to Film Studies, Theater Arts, and Art and Design. Students in our program will be encouraged to collaborate with individuals in other disciplines. For example film students needing sound effects or music could partner with our students to the mutual benefit of both parties. Our primary external partner is PCC Cascade, and we will meet with them at regular intervals throughout the year to share with each other enrollment, curricular, and advising information. Their two year program is highly compatible with our baccalaurate degree, and yet we both have different strengths. Their students will come to PSU to encounter live performances with the purpose of recording them. Likewise, students at PSU will visit PCC Cascade to learn about analog recording studios and voltage-control synthesis. (They have invested in equipment which has great historic relevance.)
As mentioned in 6a, we believe that a Sonic Arts and Music Production degree will complement Film Studies, Theater Arts, and Art and Design Programs. Also mentioned above, the different strengths of PSU vs. PCC Cascade will be used to both institutions’ advantage. 7. Financial Sustainability a. RCAT plan for the program that anticipates and provides for its long-term financial viability, addressing anticipated sources of funds, the ability to recruit and retain faculty, and plans for assuring adequate library support over the long term. Four-Year Budget Outline is attached. RCAT can be accessed online in the curriculum tracker. b. What new resources will be needed initially and on a recurring basis to implement the program? How will the institution provide these resources? What efficiencies or revenue enhancements are achieved with this program, including consolidation or elimination of programs over time, if any? Reprioritization of faculty loads and use of several pre-existing courses in this degree will enable us to offer this degree with no added faculty at this time. To begin this program, we need a state-of-the art computer lab, which we have in LH326F. This lab is on a lease with Apple, which keeps our yearly computer costs to around $13,000 per year, and this amount is fully covered by student fees. We have two additional spaces which will be used as a recording studio. We will need to put some soundproofing materials on the walls of LH326E and LH326D which will cost around $5,000, and outfit them with state-of-the-art recording equipment, which will cost around $20,000 over the next four years. Luckily, we recently received a charitable donation from the estate of David E. Wedge which can be used to cover the startup costs for this program. We plan to spend $10,000 of this foundation account money in the first year and another $15,000 in the next three years. This is indicated on our four-year budget plan under equipment spending. We expect to increase our music majors from around 225 in 2016 to 305 by 2021. This increase in music majors will bring both an increase in SCH and revenue which will help us to create a degree which is sustainable and a true financial benefit to PSU. One efficiency we are practicing to balance this new program is putting our online music certificates on hold (not yet approved) until further development and marketing can be achieved.
We are fortunate to have most of the equipment and all of the spaces necessary to start this program. Because the technology necessary for this degree must be maintained and upgraded on an annual basis, we have added course fees to our core SAMP classes to help cover these costs. Spaces which will be dedicated to this program are LH326F (our computer lab), LH326E and LH326D.
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We will make brochures of our program and send to high school and community college partners. We will visit PCC and Clackamas College with advising information about course equivalencies to better prepare potential transfer students. We will investigate the potential benefits of targeting digital marketing in conjunction with COTA’s Marketing Director.
N/A New Program Proposal Sequence of Action and Approval Page: Revised 5/1/17 Request prepared by: Bonnie Miksch (Print Name) (Signature) Bonnie Miksch Date 10/24/16 Department Chair/Director: Barbara Heilmair (Print Name) (Signature) Barbara Heilmair Date 10/24/16 Department/Division Curriculum Committee: (Print Name) (Signature) Date College/School Curriculum Committee: Sue Taylor (Print Name) (Signature) Sue Taylor Date 11/29/16 College/School Dean: Wm Robert Bucker (Print Name) (Signature) Wm. Robert Bucker Date 12/07/16 OAA:February 2016 Directory: file -> fetch fetch -> 11 th Lit Semester 1 Final Study Guide!!! fetch -> Industrial Revolution Inventors fetch -> Analysis for Galveston Hurricane of 1900 fetch -> The Illuminators (Team 2) 1900 Galveston Hurricane Cycle a team Assignment fetch -> Team csi-utb ruth Reyes Jose Ferrer fetch -> Galveston Hurricane of 1900 Cycle a-teacher as a Problem Solver fetch -> Is Climate Change Starting a New Dust Bowl? Cycle A fetch -> What makes a storm a hurricane fetch -> The 1950s were the "Happy Days" because it was a time of economic prosperity, technology development, new entertainment, new fashion and family growth. The 1950s was a great time fetch -> Sputnik and The Dawn of the Space Age Download 66.44 Kb. Share with your friends:
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