a. In the academic area of music, the professional
activities of classroom teachers, primarily music history, music theory,
music education and piano pedagogy, are comparable to those of classroom
teachers in other schools and colleges at the University of South
Carolina. Candidates in these areas normally develop national
reputations through publishing. In many cases, however, these
candidates also gain recognition through performance and/or workshop
presentations.
b. "Applied teachers" are those music
faculty who teach an instrument or voice in a one-on-one instructional
setting. All of the students they teach in this manner comprise
their "studio" or "class." "Studio" also is used to refer to
the applied teacher's office where the actual teaching takes place.
"Ensemble directors" are those music faculty who direct the larger
ensembles within the School of Music, including orchestra, opera,
chorus, and band.
c. The work of applied teachers and ensemble
directors often requires activities that differ from the work
of many
other university faculty. Applied teachers are usually expected
to perform, although it is unlikely that a candidate's national
reputation
will develop exclusively through performance. There is usually
little opportunity for applied faculty members to develop extensive
solo careers that are national in scope after committing to a full-time
faculty teaching position. Invitations for professional
activities may vary according to the nature of the applied faculty
member's or ensemble director's appointment. Therefore,
the national reputation of an applied teacher or ensemble director
will
usually
develop through
a combination of activities.
d. The term "significant" is used often in
these appendices. The use of this term indicates that
the faculty of the University of South Carolina School of Music deems
an activity or accomplishment of sufficient importance to substantially
and positively affect a candidate's record in a quest for promotion
and/or tenure.
e. Letters from external referees, which are
required as part of the candidate's tenure and promotion file, should
be submitted by prominent scholar/teachers in the area of scholarship/research,
and by prominent performers or artist/teachers in the area of performance.
Some candidates who teach in more than one area may have referees
in each. These letters are important indicators of quality and
reputation.
f.
Candidates are encouraged to use their own
ingenuity and creativity in indicating the national significance of
their accomplishments in the areas of publication, composition, performance,
conducting, teaching, presentations, awards, grants, adjudication,
and recording.
g. Publications resulting from the doctoral
dissertation will be weighed as evidence of research/scholarship but
of themselves will not be considered sufficient material for promotion
and/or tenure. Clear indications must be evident that significant,
independent scholarship going beyond the scope of the dissertation
has been undertaken.
h. Candidates will document the nature of their
contribution in the case of co-authored works. Evidence of significant
independent scholarship must be demonstrated by the candidate in these
instances.
i.
In some cases, a music candidate will have
to choose a place in his/her file for an ambiguous activity that may
fit the criteria of more than one of the three categories of teaching,
research/performance, and service. Although an activity may
not be included in two different areas, the candidate may choose to
direct the reader to other sections of the file containing additional
pertinent activities that would also fit into the category under consideration.
j.
When judging a candidate's musical performing
ability, music faculty at the University of South Carolina form their
opinions by witnessing "live" performances over a number of years
and in various musical settings, including collaborative performances
with the candidate. Outside referees who evaluate only recorded
performances may be influenced either positively or negatively by
such factors as recording studio digital tape editing and enhancement
or the technical or acoustical playback quality of the recordings
as reproduced on the referee's specific sound equipment. Candidates
are therefore encouraged, when preparing recordings for referees,
to provide an assortment of performance situations, including live
performances, that would be duly indicated in the labeling.
The candidate is responsible for providing to the referees the highest
possible quality in recordings of his/her performances.