University of South Carolina
School of Music
TENURE AND PROMOTION
APPENDIX IV

EXAMPLES OF ACTIVITIES IN THE ENSEMBLE AREA

I     RESEARCH/SCHOLARSHIP AND PERFORMANCE

National/International
a.   Recordings issued and distributed by a significant label within a candidate's area, as documented by the candidate.  Candidates should also indicate the extent of their individual contributions, i.e., soloist, chamber musician, orchestra member, choir member, etc.
b.   Guest artist or conducting appearances in other states.  These activities include, but are not limited to, solo recitals, chamber music concerts, a choral or instrumental ensemble activity which requires the significant involvement of the candidate, a substantial solo work with orchestra, a substantial opera role, and a concert or other production in which the candidate serves in the capacity of conductor or director.
c.   Articles by the candidate and reviews written by the candidate in journals in the candidate's field of specialization, including electronic publications.  The candidate will document the significance of the publication.
d.   Publication of books, pedagogical materials, arrangements or editions.  The candidate will document the significance of the publisher.
e.   Premieres of new works.  Premieres of new works, especially score and ensemble preparation, normally take a substantial effort on the part of the conductor, both in hours of preparation and in consultation with the composer.  In the case of some contemporary works, preparation may also include techniques or methods which are being learned for the first time.  The national significance of the composer involved will be documented by the candidate.
f.   Favorable reviews of the candidate's performances, recordings, compositions, or arrangements in the national media, or in journals in the candidate's field of specialization.
g.   Finalist in, or winner of, a national or international conducting competition.  The candidate will document the significance of the competition.  In some areas of music, these competitions have an age limitation of approximately 30 years of age.  However, a candidate who has won a competition such as this, even if at a lower academic rank or while still a student, has achieved a significant honor.  National and international competitions will normally offer prize money to the top three winners and may offer other types of awards as well, such as public performances in the performing halls of major cities and recording contracts.
h.   National grants or fellowships in the performing arts.  Grants and fellowships in the performing arts are highly competitive, and often do not appear as impressive in dollar amounts as the grants and fellowships in other disciplines.  Nevertheless, when funding is obtained it is a significant achievement.
i.   Invitations received by ensembles regularly conducted by a candidate for performances at national conferences and/or professional venues.
j.   Invitations to guest conduct ensembles in professional or educational settings in other states.
k.   Radio and television performances in national and international broadcasts, such as National Public Radio and Public Radio International.  The candidate will document the nature of his/her performance, such as soloist, member of a chamber or large ensemble, host, etc., as well as the significance of the broadcast.
l.   Reviews written by the candidate and published in leading journals in his field, of another author's books, recordings, compositions, or arrangements.  The candidate will document the significance of the publications using his/her reviews.

Local/Regional
a.   Faculty Artist performances.  A consistent record of on-campus performance activities can be indicative of  quality.  These activities include, but are not limited to, solo recitals, chamber music concerts or other ensemble activity, choral or instrumental, which requires the significant involvement of the candidate, a substantial solo work with orchestra, a substantial opera role, and/or a concert or other production in which the candidate serves in the capacity of conductor or director.  Faculty performances are subject to a high degree of visibility.  Positive peer evaluation of this public work by colleagues who have attended these concerts may be indicative of quality.
b.   Favorable reviews of performances and/or recordings in the local press may be indicative of quality.
c.   Selection through audition for in-state artist fellowships or awards based on performance.  The candidate will document the significance of the fellowship or award.
d.   Appointment, through audition, to the position of artistic director of a professionally managed, paid orchestra or chorus.
e.   Invitations for ensembles regularly conducted by the candidate to perform at in-state conferences and/or professional venues.
f.   Invitations to guest conduct at in-state educational festivals and/or professional ensembles.
g.   Successful applications for competitive internally-funded performance projects or other creative musical ventures.  Grants for research in the arts and humanities are highly competitive.  When funding is obtained it is a significant achievement.
h.   In-state radio and television broadcasts.  Candidates will document the nature of the performance, such as soloist, member of a chamber ensemble or large ensemble, host, advertising, etc., as well as the significance of the broadcast.
i.   Successful applications for competitive internally funded research.  Grants for research in the arts and humanities are highly competitive.  When funding is obtained it is a significant achievement.
j.   Papers given at state conferences.
k.   Program notes written for local musical productions.
l.   Reviews written about local musical productions.
m.   Articles written for in-state professional music journals.

II     TEACHING

National/International
a.   Invitations to conduct master classes in applied music in other states.
b.   The recruitment of talented students from outside the state.  The candidate may document the quality of out-of-state students in his/her studio.  The candidate's performing or conducting ability and teaching reputation are often key factors in attracting talented students.
c.   Activities demonstrating evidence of national exposure by students and former students (teaching positions, competitions, acceptance to highly competitive graduate schools, fellowships, assistantships).  In music, instrumentalists and singers are often closely identified with their applied teachers.  The successful activities of students and former students reflect positively on the candidate and the USC School of Music.
d.   Publication of books or articles on teaching, including electronic publications.
e.   Presentation of master classes, workshops and seminars outside the state.

Local/Regional
a.   Syllabi and course materials that reflect a level of sophistication appropriate for the level of courses taught, including self-published works and/or recordings.
b.   Peer reviews of teaching effectiveness.  These evaluations should be based on observation of the candidate's teaching.  Ensemble directors may also be evaluated through peer observation of student performances in juries, recitals, and concerts.
c.   Positive student ratings on appropriate unit-approved student evaluations.
d.   Course revisions and/or innovations which substantially improve existing courses.
e.   New course proposals which serve the mutual interests of the candidate and the School of Music.
f.   Successful experimentation with innovative teaching techniques.
g.   Successful direction of and involvement in undergraduate and graduate student research.
h.   Consistent successful record of direction of undergraduate and graduate degree recitals.
i.   A significant teaching award.
j.   Publication of books or articles on teaching.
k.   Presentation of master classes, workshops and seminars.
l.   Demonstrated commitment to student mentoring.
m.   Demonstrated ability to attract talented undergraduate and graduate students to the School of Music.
n.   Consistent and continued success of students after graduation, including acceptance to prestigious graduate schools, the awarding of fellowships/teaching assistantships to graduate schools, winning or placing in local, regional and national competitions, appointments to university and college faculties, and/or hiring by orchestras and opera companies.

III     SERVICE

School of Music faculty are frequently involved in musical performance as a form of service.  These activities require the same level of preparation and artistic commitment as a professional engagement.

National/International
a.   Invitations to serve as an adjudicator for competitions, or as a clinician, conductor or guest artist for music education workshops and conferences in other states.
b.   Serving as an officer in regional, national, or international professional organizations.
c.   Serving as the editor or as an active member of an editorial board for national or international scholarly presses and professional journals.
d.   Serving as an advisory board member for regional, national, or international music clinics or festivals.
e.   Serving as a review board member for grant proposals.
f.   Serving as a review board member for accreditation proposals.
g.   Serving as an active participant in professional organizational meetings and activities on an national or international level.
h.   Organizing out-of-state meetings, symposia, conferences, workshops, and concerts.
i.   Reviewing of manuscripts for professional journals.
j.   Serving as the editor of professional organization publications, newsletters, etc.
k.   Serving as an external referee for presses, journals, tenure and promotion cases at other out-of-state universities.
l.   Working regionally and nationally in schools (pre-K through university) in service to practicing  school music educators and their students.

Local/Regional
a.   Adjudication at solo and ensemble festivals, All-State auditions, and at ensemble competitions for bands, choruses, and orchestras.
b.   Serving on School of Music committees, University committees, serving on Faculty Senate, any other involvement in faculty governance.
c.   Serving as an officer in local professional organizations.
d.   Serving as an advisory board member for local music clinics or festivals.
e.   Serving as a review board member for grant proposals.
f.   Serving as a review board member for accreditation proposals.
g.   Serving as an active participant in professional organizational meetings and activities within the state.
h.   Organizing  local meetings, symposia, conferences, workshops, and concerts.
i.   Serving as an external referee for presses, journals, tenure and promotion cases at other universities within the state.
j.   Working locally in schools (pre-K through university) in service to practicing school music educators and their students.