NCNYC      Voice Lessons               MUS 125 NA-NF


Professors: Mary Carey, Sharmi Harper, Dana Talley

Kyle Pfortmiller, Gwendolyn Bradley, Jhasoa Agosto             FA 2010


Course Day and Time:  TBA; instructor assigned (by Dir. of School of Music) with student and instructor schedules in consideration, as well as voice type. Voice lessons are available for all students, non-music majors and majors alike.  The course gives Applied Music credits.  (Monday – Friday). 


Credits: 1-3 (½ hour lesson = one credit; 1 lesson hour = two credits, or three credits in the semester you do a Junior or Senior Recital.)


Office Hours: (Dana Talley) 12:30-1:30 Monday, 3:00-4:00 & 6:00-8:00 Tuesday, 6:00-7:00  Wednesday, 3:30-4:30 Thursday, and by appointment: Please see my schedule, which is posted on the door of my office. If you need to schedule an appointment, please call our administrative assistant, Autumn Nova, (212) 625-0500 ext. 6188.  Jhasoa Agosto’s office hours are posted on his office door and all other teachers are by appointment only.


Contact information:


Dana Talley cell phone (917) 825-869, Office (646) 378-6187


Mary Carey cell phone (917) 568-4641


Sharmi Harper cell phone (701) 240-7603


Kyle Pfortmiller cell phone (347) 369-4040  


Gwendolyn Bradley cell phone (914) 610-0857


Jhasoa Agosto cell phone (347) 806-5966


Course  Description: Private instruction in voice.  This class will help the developing musician or interested student understand the centrality of singing to all music study, whether one is a beginner or has advanced training, to better serve the Lord in song.  This course will focus on the time-tested theories of bel canto singing -- the goal of which is to produce beautiful tone, understandable words, and ease of singing.


Student Learning Goals:  The purpose of this course is to increase students’ understanding, appreciation, enjoyment, and love of performing vocal music.  With this in mind, upon successful completion of the course, you should be able to do the following: (Please note the Core Values of Nyack College and The School of Music at the end of this syllabus as a reference to the goals below.) Areas of concentration are:




Student Learning Goals
The Student will:

Music Program Goals

Core Goals

Assignments &/or Assessments Used

1. Study vocal development / coaching


1c, 2a, 3a, 3b, 4c, 5b

1b, 2a, 3c, 4a, 5b

Weekly private lesson evaluations, jury exams, recital performance and successfully memorizing and performing assigned repertory

2. Express the words, both in meaning and in pronunciation.


1a, 2b,3b, 4a, 4d, 5a

1c, 2b, 3c, 4c, 5b

Develop a character with the techniques that we study so you can find it from the inside and outside and share it with others!

3. Sing in a relaxed an easy manner, which will not hurt the voice and will be pleasant for the listener.


1a, 1b, 2a, 2b, 2c3a,3b, 3c, 4c, 4d, 5a, 5b

1b, 2b, 3b, 3c, 4c, 5c

Learn to perform in different genres while maintaining a healthy vocal technique that follows through all the styles

4. Learn the art of musical preparation and text translation and the ability to perform music of various periods and styles

from memory.

1c, 2a, 3a, 3b, 4c, 5b

1b, 2a, 3c, 4a, 5b

Learning music in a timely manner when assigned.  Translate and understanding word for word all texts of songs and know the plots of the various operas and music theater pieces we study. Develop a step by step learning process for the music and recitative in written form.

5. Study stage direction, performance techniques, and communication skills


1c, 2a, 3a, 3b, 4c, 5b

1b, 2a, 3c, 4a, 5b

Recital performance, cooperative  rehearsals, concert performances

6. Gain understanding  by listening to others.

1a, 2b,3b, 4a, 4d, 5a

1b, 2b, 3b, 3c, 4c, 5c

Required attendance at recitals to observe and learn from others

7. Use various search systems to retrieve information in a variety of formats (IL Standard 2, 3a) – see below.



Visit a website related to the vocal study and print out relevant information from the websites named.



Information Literacy Requirement:


1. Visit the following websites: and and submit both a word for word translation and diction guide for each of your songs and add these pages to your journal.

2. Visit a website, print and submit an article related to the background of the song or composer for one of your songs.

3. Visit one of the following links,, or,  in addition to those above for additional information about your assigned repertory.

Outline of Classes:


Students will meet privately with their instructor and study assigned repertoire and vocal exercises.  Non-music majors will be expected to improve their singing and learn the repertoire individually assigned by their teacher. These requirements have been made according to the average private student’s progress.  Note that the professor may modify this requirement according to the student’s development especially in the student’s first semester


Vocal majors (BM, SMB, MUS,Ed) will be expected to meet the following requirements:


Jury participation at end of every semester


Instrumental Majors, Interdisc., Non-Majors, and Minors taking 1 credit lessons


Jury participation required of BA candidates once a year.


Schedule, Attendance, and Punctuality:  By signing up for Applied Lessons, you agreed with the College to abide by certain guidelines, and to receive, in return, certain assurances:


  1. You are expected to adhere to the schedule of lessons as stated at the beginning of the semester.  If you miss a lesson for any reason (including illness) without notifying the teacher 12 hours in advance, the lesson is not made up. If you cannot be present at a lesson you must call your teacher directly 12 hours before the scheduled time of the lesson.  Do not leave a message with the School of Music office or any other instructor.  


  1. No student or instructor can change the day, time, or room assigned for their lessons without the approval of the Director of the school of Music, Dr. Sue Talley.  Assignments will be posted the day before applied lessons begin on September 15th.


  1. If the teacher has excused your absence because of illness, a snow day, a field trip, etc., the teacher will then reschedule a lesson with you. The teacher must also reschedule if he or she is ill. 12 lessons are given during the semester.  One Master Class, or group lesson, may be scheduled in the place of a private lesson at the teacher's discretion.  "Left-over" lessons may be scheduled during finals week when necessary.


  1. A lesson cut will result in a "0" grade.  Your semester grade will be reduced after ANY unexcused absence. THERE IS A NO CUT POLICY FOR ALL APPLIED LESSONS! (1/2 letter grade for each absence, after three cuts an F will be given, 10 minutes late for a 1/2 hour lesson is 1/2 a cut and 20 minutes late for an hour lesson is 1/2 a cut)). Attendance records for applied music will be part of the student’s permanent file.


  1. No make-up lessons are to be scheduled by the instructor without informing Autumn Nova, to ascertain available space.  The instructor may offer a master class in lieu of a make-up lesson.  Other regulations are found in the student handbook which is both on line and available in the music office.


  1. Do not answer phone calls or text messages during class. ALL cell phones are to be kept off for vocal lessons. If you are a health care worker, policeman, fireman, or other profession that requires that a cell phone be on, please inform the professor at the beginning of the semester.


Required Notebook:

All students will be required to keep a written notebook or journal which will be modified by each professor with the individual student, and their major’s requirements, year in school, and experience in mind. The individual or custom designed format will be discussed along with the syllabus at the first lesson.  Each journal will be a three ring binder and will include some or all of the following sections and must be brought to all vocal lessons along with a pencil:


• This syllabus;

• School calendar; (I suggest you add your registration information as well)
• 1-2 Copies of assigned music;
• Warm up routine or assigned vocal exercises

• Short Term and Long Range Goals Summary;

• Lesson Diary including assignments for next week;
• Practice Diary;
• Composer Biography on each composer assigned;
• List and Definition of all musical terms included in pieces assigned including foreign and domestic;
• Word for Word Translations of each foreign language assigned piece;
• IPA pronunciation for all songs in a language other than English
• Final Assessment of progress made at end of each semester;
• Repertoire List, as assigned, to be presented at Juries;
• Juniors and Seniors Recital Journal;
• Other information as assigned by the professor.

This notebook should be a compilation of your work and interest in your 4 - 5 years here at Nyack College. It will provide a valuable resource when you graduate and move into graduate school or teaching.




Music majors will be evaluated using the School of Music Handbook including repertoire guidelines partially quoted in this syllabus. Non-music majors will be evaluated on a level appropriate to their experience as singers. Lessons will include the development of a warm-up routine and solo literature specific for each student. Grades for assignments are based not only on the completion of the assignment but the quality of work produced.  The higher the quality of skills and abilities demonstrated, in areas such as expression, improvement of skills, organization in practice, and reporting and observation as reflected in your journal,  the higher the grade given for the semester. 


Class Participation:  50%

  1. PROMPT Attendance (weekly lessons)


Out-of-class participation:  20%



3. Written notebook to be completed by all students and preparation of translations.


Learning and performing of assigned material: 30%

      4. Improvement in vocal technique, including a program of vocal exercises.

      5. Recital performances demonstrating proper style and musicianship skills.

      6. Good diction: both pronunciation and communication with the audience.


Reporting of Grades (Nyack standard):


A   =   4.0  95-100%

A-  =   3.7  92-94

B+  =   3.3 88-91

B   =   3.0  83-87

B-  =   2.7  79-82

C+  =   2.3 76-78

C   =   2.0  72-75

C-  =   1.7  68-71

D+  =   1.3 65-67

D   =   1.0  62-64

D-  =   0.7  60-61

F   =   0.0 below 60%


Text and Materials:


          1. Required of all students:  24 Italian Songs and Arias of the 17th and 18th

                     Centuries by Hal Leonard Corp. Schirmer, Inc. ISBN: 0793510066 with CD

          2. Required of all students:  A three ring binder for your journal and assigned

              Music. Please chose a color other than black which is for your Chorale


           3. Assigned repertory as described below:




Repertoire will be assigned only by the instructor, depending on the professor’s assessment of each student's needs.  The student is to provide his or her own sheet music for lessons, as assigned. The school library has a collection of CD-ROM’s which include much of the standard song literature. It is essential that the singing musician have his or her own music, in which notes are made individual to the singer’s needs, and which will be referenced as the student revisits the music in years to come. 


Repertory Guidelines from Student Handbook:


Audition Guidelines:  Entering Bachelor of Arts in Music students, for which voice is their major instrument, may perform a selection or two of their choice commensurate with their background, ability, and interests. To be accepted into the vocal program, the student should be able to sing with a clear sound, on pitch, with good phrasing, musical perception, and with clear diction.  Students should also demonstrate their knowledge of the rudiments of music and good communication skills. 


Students auditioning for a professional degree, the Mus.B in Vocal Performance, SMB in Church Music, or Mus.Ed in Music Education, must show exceptional promise and talent, and good musicianship skills. A candidate should prepare five songs contrasting in style and tempo that consist of two songs in English and three additional songs or arias in at least two foreign languages, totaling 15 minutes of music. Students may choose to sing in Italian, German, French, Russian, or Spanish and must include either an opera aria or a selection from a Baroque oratorio or cantata. The student is allowed to re-audition to declare a new major in a jury in a subsequent semester. 


Introduction: The following suggested program of study is a guide, as each student will have individual needs.  Repertory will be assigned appropriate for the age and ability of the singer and all repertory must be approved by the teacher.  All vocal students, including the B.A., are required to perform in a recital and take a jury once a year. Vocal performance, Music Education, and Church Music, are required to perform in a recital and participate in juries each semester. All songs learned will be listed on the jury forms. In the first semester of study, the jury might be waived with the permission of the instructor and the director of the vocal program. However, certain repertory goals need to be attained for each year and are required as outlined below for the vocal majors offered at Nyack College. Each student should have five songs memorized each semester for a one-hour lesson (2 cr.) and three songs for a half hour (1 cr.) lesson. If a student does not learn enough repertory, or reach the repertory requirement appropriate to their year of study, they will receive a failing grade for their jury. Students who receive two (2) consecutive failures in their jury examinations will be dropped as vocal majors. Vocal lessons, or class voice (Mus 103) are available to all Nyack College students. If voice is the secondary instrument, or the student is a non-major, requirements are entirely up to the teacher and no jury participation is required unless the student wishes to officially declare a voice as their minor instrument and take a minor jury. 


Accompanists: Vocal students should ask the Director of the School of Music to recommend a student tutor/accompanist who may help them learn their music and who may be assigned to accompany the student at lessons. Accompanists, either advanced piano students or designated piano teachers, are paid a fee to accompany Junior and Senior Recitals (see Recital Requirements). An accompanist for a student recital MUST be given the music and an opportunity to rehearse with the student in advance. The selections to be performed must be given to the Administrative Assistant several days in advance of her printing the program.


Opera Theater Workshop and Small Ensembles Students are obligated to participate in two (2) consecutive semesters of Opera Theater Workshop while at Nyack College; however, it is recommended that performance vocal majors take more than is required as a music elective to further their studies and performing skills, and participate every semester possible. Participation in a chamber ensemble is not required but also recommended each semester after the freshman year.


Bachelor of Music in Vocal Performance (Mus.B)


Students who wish to pursue a four-year course of study in vocal performance (Bachelor of Music in Voice) will audition for the faculty of the School of Music either upon matriculation or at the end of semester juries. The student will enter the Mus.B course of study when the requisite skill level is attained as determined by the music faculty. Vocal performance students, or students expecting to later be a Mus.B candidate, must take a one hour, or 2 credit voice lesson each semester.  Four semesters of piano class (MUS 104, 101, 102, 201, & 202) or private instruction in piano are also recommended, so that the singer may pass a Piano Proficiency requirement.




Technical requirements – At the end of the first year, students should demonstrate good communication skills, a proper command of legato and breathing, improved ability in diction in English and Italian, consistent sound, blending throughout the registers, and an understanding of the dynamic range of the voice.  Students will learn to spend time learning how to warm up the voice and use required vocal exercises, assigned by the instructor, which help establish good vocal technique. This assigned repertory will assist students in their understanding of vocal technique and performance practice.  Students will keep a journal which will include translations, notes, repertory assigned, and an introduction to the International Phonetic Alphabet.


Repertory requirements – A student will be assigned repertory which is contrasting in  style, dynamics, and tempo.  It is the task of the individual teacher, not the student, to choose the selections for the lessons. All of the selections below should of easy to moderate difficulty, depending on the student’s ability. The vocal instructor may choose from, but is not limited to, the following repertory in the student’s first year:

·       Standard arias from the sacred repertory

·       At least one 19th century African-American Spiritual

·       English and Italian Art Songs of the 15th to 18th century

·       Simple oratorio arias

·       Folk Songs

·       Broadway musical numbers (Limit: one or two)

·       A minimum of at least one song from the classical and Romantic periods.




Technical requirements – Continue first-year requirements as detailed above. Begin studies in coloratura technique and required use of the International Phonetic Alphabet (IPA). Students should demonstrate the mastery of Baroque, Classical, and early Romantic period styles and should show skill in English and Italian diction, and should also have some basic understanding of German diction. If the vocal teacher thinks it is appropriate, French could be switched with German as an emphasis for the second year.


Repertory requirements  All of the selections below should of moderate to advanced difficulty, depending on the student’s ability. Continue repertory from the first year and add selections from the following categories:


·       Baroque, Classical, or early Romantic period opera arias (with coloratura).

·       More difficult Baroque and/or Classical oratorio arias (with coloratura).

·       Early German Lieder such as Schubert or Schumann

·       An easy Romantic period opera aria


Vocal performance majors in their third year are required to present their Junior Recital.  In the final semester of a student’s second year, the vocal instructor will assign the repertory for the student’s Junior Recital.  It is recommended that students take the full year (summer, fall, and spring semesters) to prepare; however, as individuals’ skill and ability vary, there may be some who are prepared to present their recital the first semester of their third year.  Please see the section on fees, credits, etc. found in “Recital Requirements and Procedures” in the Handbook for further details.




Technical requirements – Continue all studies from the first two years. Begin studies in secco and accompanied recitative.   Students should demonstrate an understanding of Baroque, Classical and Romantic compositional styles and should show basic proficiency in English, Italian, French and German diction.


Repertory requirements – All of the selections below should of moderate-advanced difficulty, depending on the student’s ability. Continue repertory from the first two years and add selections from each of the following:

·       Bel canto opera aria (with secco and/or accompanied recitative).

·       An aria from a mass or cantata of J. S. Bach or other Baroque composer.

·       An oratorio aria from the works of G. F. Handel, G. Faure, G. Bizet, Brahms, W. A. Mozart, F. Mendelssohn, Beethoven, etc.

·       Romantic period opera arias

·       Middle-late German art songs such as J. Brahms or H. Wolf.

·       French art songs such as C. Gounod, G. Fauré, R. Hahn, or H. Duparc.

·       Italian art songs such as the 15 Canzone di camera of V. Bellini.

·       Early 20th-Century works and/or Broadway musical numbers.

·       Optional songs by composers from the Romantic period such as

                        A. Dvořák, C. Franck, C. Saint-Saëns, G. Bizet, M. Mussorgsky,

                        R. Quilter, P. Tchaikovsky, J. Massenet, A. Sullivan, E. Chausson,

                        M. de Falla, R.Vaughan Williams, S. Rachmaninoff, M. Reger,

                        F. Lehar, O. Respighi, etc… 


Junior Recital Requirements:



In the final semester of a student’s third year the vocal instructor will assign the repertory for the student’s Senior Recital, which will be approved by both the Director of the Vocal Program and later confirmed by the recital jury.  Students will not be permitted to present their Senior Recital in the semester immediately following their Junior Recital. 


While not a requirement, at the end of the third year, the instructor may assign repertory for graduate school auditions and make preparations for recording an audition CD if that is the student’s desire. A fee will charged for the service to pay the accompanist and the recording engineer. The following list will prepare the student for all of the major music conservatories and public colleges in New York City.  Usually the CD will contain six of selections taken from the following:


1. An Italian art song or aria from 18th century or before.

2. Both an art song and opera aria in English (not a translation).

3. An additional aria from an opera

4. An aria from an oratorio.

5. Two German art songs (Lieder).

6. Two French art songs (Mélodie).

7. A 20th or 21st-century art song in any language.




Technical requirements – Preparation for the Senior Recital! Continue technical studies from the three previous three years of study. Participation in Opera Workshop is suggested for both semesters of the in the fourth year.   Students must demonstrate the mastery of Baroque, Classical, Romantic, and Contemporary styles and should show proficiency in English, Italian, German and French diction.


Repertory requirements – All of the selections below should of an advanced level of difficulty, depending on the student’s ability.Continue all repertory from the first three years and add selections from the following:

·       Contemporary period opera aria.

·       American Song Literature, such as S. Barber, A. Copland, D. Diamond,  L. Bernstein, C. Ives or L. Hoibe.

·       Advanced French art songs such as M. Ravel, C. Debussy, E. Satie, or

 F. Poulenc.

·       Continued study in Middle-late German art songs such as G. Mahler,

R. Strauss, A. Schoenberg, A. Berg, or A. Webern.

·       Optional, but recommended: Study of an entire, or partial, song cycle.


Senior Recital Requirements for the Vocal Performance Major:


·       60-75 minutes of new music, (17-22 songs). May not be a shared recital.

·       All four compositional periods are to be represented

·       Italian, French, German, and Italian must be included. Other languages are optional as assigned by the instructor such as a Spanish or Russian group.

·       The recital will consist mostly of art songs and be placed in groups of approximately three contrasting songs for each composer.

·       There will be a limit of 2-3 opera arias or oratorio selections and 1-2 Broadway arias.

·       Extensive program notes and translations are required for the the program for all Mus.B candidates.

·       An entire or partial song cycle is strongly recommended.

·       Duets and ensembles are optional encores.


Vocal students enrolled in the SMB and MUS.ED programs have similar goals to the BM in vocal performance, but modified expectations as outlined below:


Bachelor of Music Sacred Music (SMB)

Bachelor of Music in Music Education (Mus.Ed)


Students enrolled in a four-year course of study in Sacred Music or Music Education, whose major instrument is voice, will audition for the faculty of the School of Music upon matriculation or at the end of semester juries, with the same requirements as the vocal performance major.  The faculty will determine if the candidate’s skills are sufficient to complete the professional major’s requirements.

As in the vocal performance major, students will be assessed for their progress at their jury examination in both fall and spring semesters.  The singer will be required to complete the vocal performance repertory requirements of three years of study in four years.  Each student will learn the five songs required each semester and students who receive two (2) consecutive failures in their jury examinations will be dropped as SMB or Mus.Ed candidates. Both majors require taking a one hour, or 2 credit lesson each semester.  Four semesters of piano class (Mus 104, 101, 102, 201, & 202) or private instruction in piano is recommended for the SMB.  All of the piano classes or four semesters of private piano instruction are required, plus either guitar or Baroque recorder class, for the Mus.Ed vocal major. All professional majors are required to pass the Piano Proficiency Exam to graduate.


Senior recital requirements for the SMB and Mus.Ed candidate


Usually students in their fourth year will be required to present their Senior Recital.  Many of the procedures for the vocal performance major’s Junior Recital will be followed with the changes noted below. The same skill level as a vocal performance junior recital is expected from each senior recitalist in the SMB or Mus.Ed programs.


For both the SMB and Mus.Ed candidate:



For the SMB candidate:



For the Mus.Ed candidate:



Bachelor of Arts in Music with Voice as the Major Instrument


Each student should have three songs memorized each semester. Six songs total are required for the end-of-year jury exam. The B.A. in music candidates are required to take (1 credit) ½ hour lessons each semester but often choose 2 credits or one-hour lessons using the additional credits as music electives. Students also may finish their eight required total credits in fewer than eight semesters and will need to take juries only as long as they are still taking lessons but must take a total of eight credits of voice lessons.


As a general rule, the requirements for the four year course of study and the jury exam are approximately equal to the first two-year repertory requirements as detailed above for vocal performance majors.  Repertory will be assigned appropriate for the age and ability of the singer but will follow an individual program designed by the voice instructor. However, the individual teacher should design the vocal repertory as closely as possible to fit the normal college curriculum as listed above if variations are desired.  Again, all B.A. in music candidates are required to perform in a recital and prepare a jury once a year. Two (2) consecutive failures in their jury examinations will cause the student to be dropped as a music major.


Sheet music may be obtained at any of the following retailers:


Juilliard School Bookstore:

60 Lincoln Center Plaza, (212) 799-5000

Colony Record & Radio Ctr. Inc., 1619 Broadway (212) 265-2050

 Carl Fischer Inc.

65 Bleeker St Fl 8, (212) 777-0900

T.I.S. Music Catalog:

J.W. Pepper:

CD World

Citidex guide to all the music stores in NYC:


Recital Guidelines from Student Handbook:   



v  Teachers sign up their students for recitals on the form provided by the Music Office.

v  Students may not add or delete selections from the program without the teacher’s approval.

v  For students using accompanists, teachers are required to hear them perform with their accompanist before the recital.

v  Once the program is submitted, only faculty may make changes or cancellations.

v  Vocalists and pianists are required to memorize recital music.  Other performers should consult with their teacher regarding memorization.

v  Teachers will coach students concerning stage etiquette. (Please see following.)




v  The soloist, regardless of gender, always precedes the accompanist when entering the stage.  When exiting the stage, the accompanist always follows the soloist.

v  The soloist’s entrance is made with a moderately quick, but graceful walk to a definite spot.

v  When a soloist reaches their spot, if greeted by applause, s/he acknowledges the courtesy with a graceful bow.  The soloist then positions him/herself with the proper stance for his/her performance.

v  When the audience is quiet and ready to listen, a slight nod is given to the accompanist as a signal to begin.

v  During any introductions or interludes, the soloist maintains an attentive attitude at all times.

v  The mood of the song is reflected in the general manner of the soloist’s performance.  The performer should try to “look like the music.”

v  When singing, the soloist should try not to stare at any one person or spot as well as not glance about in a nervous, restless manner.

v  At the end of a selection or performance, the soloist should not bow until applause begins.

v  An encore is not sung or played unless the audience applause calls for one.

v  Encore selections will be pre-approved by the faculty.

v  The performer should be in control, poised, with an air of dignity and sincerity.  If the performer appears ill at ease or nervous, the audience will certainly feel uncomfortable.  The best way to learn good stage deportment is to watch the stage presence of seasoned professional performers.  Modest assurance is the ideal manner, and nothing will give a performer that assurance like intelligent practice and skill.

v  All recital attire is to be modest and appropriate to the occasion, as well as subject to the approval of the private instructor.  One change of attire will be permitted during a recital.




Performance majors must present a Junior Recital in their third year to be comprised of 30-40 minutes of music and a Senior Recital in the fourth year to be comprised of 60-75 minutes of music.  Students enrolled in the Music Education and Church Music programs are required to present a Senior Recital of 30-40 minutes of music prior to graduation.  Composition Majors will present a Senior Recital (one hour in length) of original compositions organized, conducted or performed by the student.


The following are important steps in preparing for Junior and Senior Recitals: 


1. Repertory should be selected by the teacher two semesters prior to the recital jury. (Junior or Senior)


2. Junior and Senior recitals cannot be given in successive semesters.


3. Recital Date (Set date before the beginning of the semester the recital is given)

In consultation with the private instructor, a date will need to be determined which will afford the best possible audience.  This date should be set before the beginning of the semester the recital is taking place to take advantage of the available openings on the college calendar.  It is the responsibility of the student to secure a recital date through the Music Office.               


4. Reserve 6th Floor Theatre:  Except for organ recitals all official recitals must be given on campus.

Aside from reserving the hall for the recital alone, it is highly recommended that the student reserve the hall for one dress rehearsal with the private instructor as well.


5. Accompanists (Arrange for accompanist 3 months before recital.)

Instrumentalists and vocalists requiring accompanists for their recital are personally responsible for making these arrangements. Arrangements for accompanists should be made at least three (3) months in advance of the recital.  Use of non-college persons as accompanists, assisting artists, etc., must be approved by the School of Music.  The School of Music will assist in arranging for an accompanist when necessary. A fee of $100 is required to be given to the accompanist for all Junior and Senior recitals. This will include the performance and two rehearsals. NO EXCEPTIONS.


* It is essential to work out a rehearsal schedule with the accompanist and private instructor at least two (2) months prior to the recital.  Since the accompanist will be giving both time and professional expertise, it is important to acknowledge this in some manner.  The student should ask the accompanist what their additional fees are for additional rehearsals.  That is true whether the accompanist is college faculty, a student, or a guest.


6. House and Technical Assistants (Make arrangements one month before the recital.)

Students are responsible for organizing ushers, stage help and other personnel needed for the recital.


The Music Office must be consulted concerning who has been approved to run the sound, recording and lighting equipment. Only those who have been approved may run the equipment, and it is customary that they will charge a fee for their services. If a video or audio recording of the recital jury and/or performance is desired, it is the student’s responsibility to make these arrangements.  This feedback will be invaluable for reviewing the performance.  Audiotapes, videotapes and CD recordings may also be included in a professional portfolio.


7. Receptions (Reserve room and make arrangements one month before the recital.)

Students who choose to have a reception on the 6th Floor Theatre following their recital are responsible for coordinating the reception, and assuming the cost of the food and paper-ware. The room must be returned to its proper classroom configuration following the reception.  Garbage must be secured in heavy-duty garbage.


8. Recital Jury (Must take place four weeks before the recital.)


Four weeks prior to the recital date, recitalists will perform a recital jury before the music faculty. A minimum of two full-time faculty and the primary applied teacher should be present.   The jury date is to be scheduled the day the recital is scheduled. The purpose of the recital jury is to ensure that the repertoire is fully prepared and meets the curricular standard.  If the student is unprepared for the recital jury, the recital may be postponed to a later date or cancelled at the discretion of the faculty.


Vocalists, keyboardists and guitarists must be prepared to perform the complete recital jury and recital from memory.  For the jury, at least 2/3 of recital material should be memorized.


The recital jury is not a dress rehearsal.  The playing time in the juries will be limited to 20 minutes for junior recitals, and 30 minutes for senior recitals. Students are required to provide the jury with a completed jury form and the first draft of their recital program, which have been reviewed by their private instructor.  The faculty will select the pieces to be performed during the recital jury.  No additions to the program will be permitted subsequent to the approved recital jury without the permission of the music faculty. 


8. Programs (First draft presented to faculty at jury; print program two weeks before the recital.)

Students are encouraged to create their own recital programs.  The Music Office can assist the student with the proper formatting of a recital programThe Music Office can provide the student with the use of the copier and stock paper.   The School of Music must approve all programs and materials before they can be duplicated and distributed.


8. Publicity (All publicity projects completed three weeks before the recital.) 

Good attendance at the recital is a direct result of good publicity (e.g., posters, announcements in the Internet, personal invitations, etc.).  This publicity is the responsibility of the student, although the School of Music may be able to assist in some areas.  The copy machine and stock paper are available for use for publicity projects.






In addition to the information in the college catalog, all students are responsible for the requirements, regulations, and information in the NCMC Music Handbook.  Please put the following link in your browser:


Calendar of Recital Performances: (Each vocal student must participate in one recital.  Plan ahead, with your instructor, and do not wait until MAY as each recital is space available.)


Reasonable Accommodation


Any student eligible for and requesting academic accommodations due to a disability is required to provide a letter of accommodation from the Office of Disabilities Support Services within the first two weeks of the beginning of classes. Any student who has a learning disability is encouraged to speak privately Professor Adelaide Pabon the 504 coordinator for Nyack College/New York City. 


Library and Internet resources:


Music databases on our library website: or 


Go to "Resources"(purple tab) and click "Article Resources (Alpha)."  Then you will see the alphabetical list of 91 databases.  Here are some examples: (Passwords given separately)


Dram (Music Database) - Recordings and essays from the American and international repertoires (over 1500 CD's and 9800 compositions)


Grove Music Online - Grove Dictionary of Music and Musicians, Dictionary of Opera and Dictionary of Jazz (full-text)


Naxos Music Library - 256,000+ tracks of classical, jazz, world, folk, Chinese, and contemporary music with accompanying text notes on works, composers, and artists.


Piano Street -More than 10,000 pages of classical piano music to view or print


New York Public Library: 

Reference materials, recordings, repertoire, and even a listening center may be found at the New York Public Library for the Performing Arts, 40 Lincoln Center Plaza (212) 870-1630


Any person residing or attending college in New York may request and receive a free public library card. If you use their search engine, LEO, you can ask up to 10 scores, 10 books, and 10 CD’s or DVD’s be delivered to YOUR local library in New York City. It is very hard to find material if you are not used to the Dewey system.  If you use Leo they will find everything for you.  Warning:  It may take several weeks before material is delivered so plan ahead!




• (Registration, grades, and other information)

•   (School of Music Academic Website)

• (Nyack College catalog)

• (School of Music Website including Facebook)

• resource for pronunciation and diction

• Word for word translations

• Thousands of songs with translations

• The same as above for opera arias

• Link for solo and choral music practice

•  (127 additional links for the study of music)



1. To graduate students who have acquired and developed the academic skills of reading carefully and critically, communicating clearly and cogently, thinking analytically and synthetically.



1a. By designing into the music history sequence a comprehensive overview of western music and related religious, philosophical, political, scientific, and social developments.

1b. By designing into music literature courses the appreciation and understanding of non-Western music of the church, including research components and the analysis of contemporary phenomena in these areas.

1c. By fostering the aural development, kinesthetic processes, and aesthetic sensitivities which form the basis of professional caliber musicianship.


2.  To graduate students who have achieved a broad understanding of human learning.

2a. By fostering in our students the skills and motivation for life-long learning and participation in music.

2b. By encouraging all students to value the creativity of the human spirit and the aesthetic dimension of life.

2c. By promoting involvement in campus life through participation in aesthetic and cultural activities.

3. To graduate students who have achieved an in-depth understanding of one  field of study by meeting the requirements of at least one major


3a. By training our students to acquire the theoretical and practical skills required by music educators, church       musicians, performers and composers. 

3b. By fostering a broad knowledge of music literature, both sacred and secular, through study and performance.

3c. By employing a competency-based approach for course design and requirements throughout the program while       encouraging artistic creativity.

3d. By cultivating career programs and awareness in the various music and music- related fields.

3e. By utilizing the cultural resources of various metropolitan New York area institutions.

4. To graduate students who have achieved a basic Christian worldview understanding which can serve as a basis for interpreting experience


4a. By providing experiences in Christian ministry involving music in the Christian and  Missionary Alliance and      other churches.

4b. By promoting a sense of Christian love and caring throughout the endeavors of the School of  Music.

4c. By building the self-esteem of the individual through musical achievement in the Christian context.

4d. By fostering a respect for diverse forms of music, worship, and culture.

5. To strengthen a sense of civic responsibility to the community


5a. By promoting in our students an appreciation for the opportunities and responsibilities which exist in a democratic society concerning the arts.

5b. By encouraging involvement in civic affairs through music and the allied arts



1- Socially Relevant

1a. Students will recognize the value of economic, political, social, and systems as tools for positive change.

1b. Students will apply a foundation of compassion and integrity to their chosen field of study.

1c. Students will demonstrate servant leadership as they engage the community and marketplace.


2- Academically Excellent

2a. Students will attain an educational foundation in arts and humanities, science, mathematics, and social science.

2b. Students will be able to communicate in oral and written form and demonstrate information and technological literacy.

2c. Students will demonstrate critical thinking, problem-solving, and research skills across the curriculum.


3- Globally Engaged

3a. Students will understand the interplay of historical, cultural, and geographical realities of the global community.

3b. Students will value diversity through an understanding of worldviews, languages, cultures, and peoples.

3c. Students will engage in service opportunities within the global community.


4- Intentionally Diverse

4a. Students will understand the heritages and traditions of diverse peoples and cultures.

4b. Students will appreciate the need to promote biblical principles of social equality.

4c. Students will engage in interactions and relationships with those from diverse backgrounds.


5- Emphasizing Personal Transformation

5a. Students will grow in their faith as they pursue God’s purpose in their lives.

5b. Students will integrate their Christian worldview into learning and service.

           5c. Students will apply discipleship principles to assist in the personal transformation of others.