The Department of Music offers courses in music history and theory, both Western and non-Western, and provides students with the opportunity to perform in various ensembles and pursue private instruction in voice and many instruments. Each area of study, whether it results in a student's own performance or a heightened perception of others' performances, is designed to increase the student's sense of the richness and importance of music in the human experience.
Music Theory: Ted Buehrer, Ross Feller, Benjamin Locke
Musicology and Ethnomusicology: Dane Heuchemer (sabbatical), Maria Mendonça, Reginald Sanders, Bess Liu
Music Technology: Ross Feller
MUSC 101 (Basic Musicianship), MUSC 102, 105, and 107 (Introductory Music history) are considered especially appropriate introductory courses for first-year students or upperclass students new to the department. As the foundation on which the other course work in the department is built, these courses are required for students considering a major in music. To facilitate proper placement of entering students, the Department administers a music theory placement exam during Orientation; students who do well on this exam may be granted permission to enroll in MUSC 121Y-122Y (First-Year Theory and Ear-Training).
Students not contemplating a major in music but who have prior experience should also take the placement exam. If the exam is not taken, the student will begin with MUSC 101 or 102, 105, or 107. Those who wish to develop basic skills should take MUSC 101, which covers the rudiments of music theory and the aural skills needed by practicing musicians. MUSC 102, 105 or 107 are designed to provide both an overview of the subject and the requisite skills needed for active, informed listening. All other music courses follow logically from MUSC 101 and 102, 105 or 107. Students interested in Ethnomusicology may enroll in MUSC 206 (Seminar in Ethnomusicology) once its prerequisites are met (MUSC 102, 105, or 107 or ANTH 113). Students with AP credit should consult the Department Chair.
For additional courses particularly appropriate for first-year students or upperclass students new to the music department curriculum, look for the diamond symbol in the Course Catalog.
Administrative Assistant and Applied Music Program Coordinator: Jessica Landon
Choral and Orchestral Director: Benjamin Locke
Symphonic Wind Ensemble Director: Dane Heuchemer
Jazz Ensemble Director: Ted Buehrer
Opera and Music Theater Workshop: Jennifer Marcellana
Asian Music Ensemble: Maria Mendonça
Guitar Coordinator: Matthew Paetsch
Piano Coordinator: John Reitz
Voice Coordinator: Jennifer Marcellana
NOTICE: All students in the applied music program are subject to the rules contained herein.
See the Course Catalog for detailed descriptions. Courses may be repeated unless otherwise specified. Ensembles normally earn .25 unit (2 semester hours) of credit per semester, but certain situations arise in which students may only be permitted to register for .13 unit (1 semester hour) of credit. Be certain to verify your status with the instructor of the course when enrolling. There is no additional fee for ensemble participation. Ensembles must have a minimum of four enrolled students.
Auditions will take place August 28-30. You do not need a prepared piece. Signup sheets will be outside Storer 30. Contact Professor "Doc" Locke with questions at lockeb@kenyon.edu. *Auditions closed for Spring Semester.*
The Symphonic Wind Ensemble (.25 credit) The Symphonic Winds works on improving musical abilities while also developing leadership skills, all within a supportive, collaborative learning environment. Chairs are rotated so that all players have opportunities to lead and follow.
No auditions are required — our first scheduled rehearsal, 6:30-7:30 p.m. on Wednesday, September 4, will be “open” to anybody interested (or curious), Waite Rehearsal Hall in Storer Hall. SWE also meets on Thursdays, 7:00-9:00 p.m..
The Symphonic Winds has proudly maintained a tradition of accepting any player interested in participating. If you want to play, please join us! Any questions: email the director, Visiting Assistant Professor of Music, Heather Faulkner at faulkner1@kenyon.edu.
Storer 30 auditions: brass and woodwinds, Friday, September 6, 2 - 6 p.m. Audition excerpts available on request. Signup sheet will be outside Storer 30. *Please contact Professor Locke (lockeb@kenyon.edu) to schedule a private audition for Spring Semester.*
Brandi Recital Hall auditions: All other instruments, Saturday, September 7, all day. Signup sheet will be outside Storer 30.
Contact Professor "Doc" Locke with questions at lockeb@kenyon.edu.
Thursday, August 29, 12:10-1:00 p.m., meet and greet (just show up), Waite Rehearsal Hall in Storer Hall.
Auditions will take place Monday, September 2, 1:00-3:00 p.m. and Tuesday, September 3, 1:00-4:00 p.m., Waite Rehearsal Hall in Storer Hall. Sign up sheets will be on Professor Buehrer's door, Storer 24.
Contact Professor Mendonça at mendoncam@kenyon.edu if you are interested in participating in the Asian Music Ensemble.
Students who have not taken piano, voice or guitar lessons at Kenyon are required to attend a placement. The placement is not an audition. It is an opportunity for the coordinator to determine which of our teachers would be a good fit with the student. Once a teacher has been assigned the student may follow the procedure to sign up for lessons. The placement schedule for Fall 2024 is as follows:
If you have a class conflict during the set placement times, please contact landonj@kenyon.edu and the appropriate coordinator will make an effort to establish a different placement time for you.
Signup sheets for the above placements can be found on the bulletin board in the student lounge in Storer Hall. Watch for STUDENT-INFO announcements.
**Sign-up Sheets, Student Lounge, Storer Hall**
Flute Choir (MUSC 475) Jennifer Packard, director
String Chamber Ensemble (MUSC 477) Luis Biava, director
Guitar Ensemble (MUSC 478) Adam Keeler, director
Percussion Ensemble (MUSC 482) Cary Dachtyl, director
Harp Ensemble (MUSC 486) Janet Thompson, director
Bluegrass Ensemble (MUSC 489), Mark Gonzalez, director
Opera and Music Theater Workshop (MUSC 483) Jennifer Marcellana, director
Absences or disability due to prolonged illness/injury during the semester must be brought to the attention of the Department Chair as soon as possible in order to make equitable accommodations for the situation. Failure to do so may result in a loss of recompense for the student academically and financially.
Early in the semester each student will be provided with a syllabus outlining their academic responsibilities for the semester. The syllabus will explain which factors (attendance, assignments, etc.) contribute to the determination of the final grade.
Mission Statement: The experience of creating or re-creating music through musical performance is central to understanding the discipline of music. To this end, the applied music program at Kenyon College is structured so as to allow any student at any level of experience to engage in this type of study. Inherent in this approach is the assumption that an increase in proficiency and skill should be both measurable and continuous. End-of-semester juries and timely advancement to higher skill levels are two of the primary systems by which the Kenyon College Department of Music seeks to evaluate the progress of individual students, to enable students to present concrete evidence of their improved musical understanding, to maintain standards of skill levels and performance, and to assess the efficacy of the entire applied program in our curriculum.
A. Level I: This level is the starting point for all students engaging in applied study in the
Department of Music, regardless of the prior experience of the individual student. No
jury is required at Level I until the semester in which the student acquires .5 unit (4 semester hours) at this
level.
B. Level II: To reach or maintain Level II standing, the student should have a basic
understanding of the technique associated with performance on their instrument. In
addition, the student should be able to perform selections from the introductory
repertory with fluency while maintaining proper intonation, articulation, phrasing,
style, tone, tempo, and stage deportment. The student should also exhibit the capacity
for memorization, where appropriate.
C. Level III: To reach or maintain Level III standing, the student should begin to
demonstrate a mastery of the techniques associated with performance on their
instrument and a basic level of artistry. Performance of selections from a more
advanced repertory should exhibit not only fluency, but also a command of intonation,
articulation, phrasing, style, tone, tempo, stage deportment, and, especially,
interpretation. The student should also be aware of technical problems and have the
ability to adjust midperformance.
D. Level IV: To reach or maintain Level IV standing, the student should exhibit
performance skills that show substantial command of both technique and artistry.
More defining characteristics of Level IV are musical independence and creativity,
specifically the skill of "making the performance one's own." This level must be
achieved for any student giving a recital sponsored by the Music Department.
Given the definitions above, it is understood that a certain variety of expectations is necessary within the areas of applied study at Kenyon (voice, piano, guitar, etc.). However, whatever guidelines are established for the applied areas must attend to the definitions above, and expectations regarding technique and repertoire should show an appropriate and reasonable gradation. Each area shall establish non-exclusive repertoire lists for each level to serve as a guide to colleagues and to students.
A. Juries are required of all students at Levels II-IV. No jury is required at Level I until the semester during which the student accumulates .5 unit (4 semester hours) at this level. Advancement from one level to another is determined at end-of-semester juries.
B. Limitations on Levels and Credit:
1. Level I: up to .5 units (4 semester hours) of credit may be earned, although an additional .25 unit (2 semester hours) may be earned upon the recommendation of the applied instructor and consent of the tenured or tenure-track faculty attending the relevant jury.
2. Level II: generally up to .5 units (4 semester hours) of credit may be earned, although an additional .25 unit (2 semester hours) may be earned upon the recommendation of the applied instructor and consent of the tenured or tenure-track faculty attending the relevant jury.
3. Level III: no limitation
4. Level IV: no limitation
The above limitations apply whether or not the lessons are contiguous.
C. Length of jury performances: Jury performances should be no more than five-minutes duration. If students are performing works that are longer than five minutes, the works may either be "edited" for the jury, or the evaluators will simply interrupt at an appropriate moment. (Students need to be aware that an interruption of this sort is not to be taken negatively.)
D. Jurors:
1. At least two tenured, tenure-track, or visiting faculty, and
2. Applied teacher(s) of the students performing on juries
A. Adjudication: The quality of the jury performance itself will determine the success or failure of individual students as they attempt to progress through the applied-study program. The regular classroom faculty will confer with the applied faculty when making decisions regarding advancement.
B. Advancing to Higher Levels: Students may be advanced to a higher level of study only by undergoing a Jury for Advancement. If the private instructor approves, this may be done before the student has accumulated the maximum number of credits at a given level.
C. Consequences of Failing a Jury Performance: In the event of a failure ("no pass"), the student's grade in the course will drop a full letter. If the student fails the jury in the subsequent semester (whether contiguous or not), the same grade penalty is applied AND the student will be dropped one level. This means that students may have to continue lessons for AUDIT credit only (as per the limitations on credit mentioned above), cancel recitals, and/or suffer any other consequences inherent in said reassignments.
D. Consequences of Missing a Jury: If a student fails to appear for a scheduled jury without an acceptable excuse (determined by the Department), the student's grade in the course will drop a full letter AND the student will be dropped one level.
E. Progress Within the Level: Once a student has reached a level with no limitation (III or IV), steady improvement of skills is still expected. Jury sheets from previous semesters will be consulted to monitor this progress. Failure to sustain a steady upward trajectory may result in a failed jury even if the basic requirements of the level are being met overall.
F. Dress Code: For appropriate dress see Performances, Recital Dress Code
G. Jury Results: The student and the instructor will be notified of the jury results, and a written critique of the performance will be available to both the student and the instructor. The critique sheets will be kept in the Music Office.
Solo work done in conjunction with Music Department ensembles may qualify a student for advancement if the following conditions are met:
1) the student notifies the Music Jury Coordinator (Jessica Landon) two weeks in
advance of the performance date; 2) *at least two classroom faculty and one adjunct
instructor are present at the performance; and 3) the private teacher agrees that said
performance is representative of the student's progress in the lessons. *It is the student's responsibility to arrange for two classroom faculty to attend their substitute performance.
a. Angela Waite Student Recital Series: Performance on this Recital Series is an honor. Invitations will be extended to those students who have given outstanding performances on their music juries. (The Music Department will subsidize all accompanists' fees related to this recital.)
b. Senior/Full Recital: The student has the responsibility for up to an hour of programming. Students who plan to give a senior/full recital should have achieved Level IV status at least one full semester prior to the semester of the recital date.
c. Junior/Partial Recital: The student has the responsibility of approximately one-half hour of programming (often sharing the recital with another partial-recital student). Students who plan to give a partial recital should have achieved Level IV status for the semester in which the recital occurs.
d. Music Department Sponsorship: For music majors, the Music Department will fund one half recital in the junior year in accordance with the established guidelines, provided the student has reached level IV, has taken (or is taking contemporaneously with the recital) MUSC 102 and MUSC 121Y-122Y, and their program has been approved by the department. The department will also fund a full recital in the senior year as part of the senior capstone.
For music minors, the Music Department will fund one recital (half or full) in the junior or senior year in accordance with the established guidelines, provided the student has reached level IV, has taken (or is taking contemporaneously with the recital) MUSC 102 or 107 and MUSC 121Y-122Y, and their program has been approved by the department. Every effort should be made to combine two half recitals into a single event, in which case the complete program may consist of two separate half recitals, or the artists may collaborate. Music minors may petition the department for funding to support a second recital.
Students who are neither music majors nor music minors may petition the department for recital funding if they have reached level IV, have taken (or are taking contemporaneously with the recital) MUSC 102 or 107, and their program has been approved by the department.
Submission of Proposed Program (IMPORTANT): Any student giving a recital (other than the senior recital) must submit a program approved by their teacher not less than three academic months prior to the proposed recital date. (Note that academic months include only those months when school is in session.) The content of the program must be approved by a majority vote of the classroom faculty. Any omissions from the expected content of a selection (verses, variations, movement, etc.) must be listed at this time with the reasons for omission. Memorization of materials for most solo works is mandatory. Check with the Department Chair for clarification. For senior recitals, see Senior Capstone for the Major.
e. Preliminary Hearings: The student must be prepared to perform the entire recital for a panel composed of the teacher and one or two classroom faculty at least two weeks prior to the recital date. It is imperative for the student to treat the recital hearing as a full-fledged performance, even though it is not open to the public. All music is to be presented as it will be in the final recital. Any pieces not considered to be at performance level by majority vote of the faculty will be automatically cut from the program. If insufficient material remains to make a complete program of reasonable length, the recital will be postponed or cancelled. In case of postponement, another preliminary hearing must be held with the same requirements as the first. For senior recitals, see Senior Capstone for the Major.
f. Recital Dress Code: The Department regards its recitals as formal events, a window through which the public views the work of its students and faculty. As such, students performing in recitals are expected to dress with a degree of sophistication and decorum. Men and women should plan to wear attire that can (at the least) be considered "semi-formal." Attire will be discussed at the time of the recital hearing.
g. Performance Etiquette: The Department has certain expectations regarding public presentation. These expectations include, but are not limited to, entering and exiting the hall with dignity and ease, acknowledging accompanists and/or assisting performers, acknowledging applause, bowing, addressing the audience with proper formality, etc. If a student has questions or concerns s/he should consult their applied teacher and/or Faculty Advisor.
a. Accompanists for music juries and payment: Students who need accompanists are encouraged to ask other students for this support. Professional accompanists are also available. The current rehearsal rate is $5.00/5 minutes. Jury accompanists are paid by the Department. Music jury rehearsals are the responsibility of the student. Students will be billed for all accompanist fees.
b. Accompanists for department-sponsored recitals: The Department will fund eight hours of rehearsal time with the accompanist for full recitals and four hours for half recitals. Fees in excess of those covered by the Department will be billed to the student.
Each year the Department determines the recipients of the following awards:
The Kathleen "Kay" Locke Community Service Prize in Music Award established in 2015 in honor of Kay Locke, wife of Benjamin R. Locke, Professor of Music; is a cash award given annually to the student or students who have provided outstanding service to the Kenyon community through their musical activities.
The Gabriel A. Ben-Meir Senior Award in Music established in 2015 by the department in memory of Gabriel A. Ben-Meir, Class of 2003; is a cash award given annually to a senior Music Major; recognizing outstanding academic achievement during four years in the Kenyon Music Department.
The Thomas B. and Mary M. Greenslade Award in Music Performance is given annually to the student or students who have given the most outstanding solo performance or series of performances during the current academic year. In order to be considered for this prize for the 2024-2025 academic year, aspirants must have given a performance by March 1, 2025. Performances after this date will be eligible in the 2025`-2026 academic year.
The Music Department views concert ushering as a very important duty, and as a result urges students to accept it as a serious responsibility. The usher is the Department's initial contact with the broader community and as such provides an opportunity to establish a positive concert atmosphere prior to the beginning of a performance. Poor ushering often results in a confused audience and may also anger the performers. When a person neglects their ushering responsibility, the audience is left without a readily available source of information and the Department appears unprofessional.
Here are some basic guidelines for effective ushering: