Michael D. Wilder, Ph.D.	Dean, Conservatory, Arts & Communication, Professor of Music
Mary Hopper, D.M.A.	Director, Performance Studies, Professor of Music (Choral Music & Conducting)
Tony L. Payne, D.M.	Director, Special Programs, Associate Professor of Music
Timothy Yontz, Ph.D.	Director, Music Education, Associate Professor of Music (Music Education)
Edward Zimmerman, D.M.A	Director, Academic Studies, Professor of Music (Organ)
Karin R. Edwards, D.M.	Professor of Music (Piano)
Daniel P. Horn, D.M.A.	Professor of Music (Piano)
Kathleen Kastner, D.M.A.	Professor of Music (Percussion)
L. Jonathan Saylor, Ph.D.	Professor of Music (Music History & Bassoon)
Gerard Sundberg, D.M.A.	Professor of Music (Voice)
Howard Whitaker, Ph.D.	Professor of Music (Composition & Music Theory)
Paul W. Wiens, D.M.A.	Professor of Music (Choral Music & Conducting)
Johann Buis, D.A.	Associate Professor of Music (Music History)
Carolyn Hart, D.M.A.	Associate Professor of Music (Voice)
Sarah Holman, D.M.A.	Associate Professor of Music (Voice)
Lee Joiner, D.M.A.	Associate Professor of Music (Violin)
Terry R. Schwartz, D.M.A.	Associate Professor of Music (Trumpet)
Daniel Sommerville, D.M.	Associate Professor of Music (Orchestral Music & Conducting)
John D. Zimmerman, Mus.M.	Associate Professor of Music (Piano)
David Gordon, Ph.D.	Assistant Professor of Music (Theory)
Shawn Okpebholo, D.M.A.	Assistant Professor of Music (Theory)
Curtis H. Funk, D.M. Ed.	Associate Professor Emeritus & Guest Lecturer in Music Education
William Phemister, D.M.A.	Professor Emeritus & Guest Lecturer in Piano
Don Baddorf, B.A.	Guest Lecturer in Digital Music Technology
Kara Bancks, M.M.	Guest Lecturer in Clarinet
Beth Bauer, D.M.E.	Guest Lecturer in Pedagogy and Internships
Michael Bazan, B.M.	Guest Lecturer in Saxophone
Jennie Brown, D.M.A.	Guest Lecturer in Flute
Cornelius Chiu, M.M.	Guest Lecturer in Violin
Melanie Cottle, Mus. B.	Guest Lecturer in French Horn
James Davis, M.M.	Guest Lecturer in Jazz Trumpet
Virginia Dixon, M.M.	Guest Lecturer in String Bass
Michael Folker, M.A.	Guest Lecturer in Percussion
Denise Gamez, M.M.	Guest Lecturer in Voice
Matthew Gemmill, M.M.	Guest Lecturer in Music
Kevin Harrison, M.M.	Guest Lecturer in Tuba
Deborah Hollinger, M.M.	Guest Lecturer in Piano
Tyson Hoffman, M.A.	Guest Lecturer in Dance
Misook Kim, D.M.A.	Guest Lecturer in Music Theory
Claudia Lasareff-Mironoff, M.M.	Guest Lecturer in Viola
Cheryl Lim, M.M.	Guest Lecturer in Piano
Sung Hoon Mo, D.M.A.	Guest Lecturer in Piano
Joshua Moshier, B.A.	Guest Lecturer in Jazz
Ann Montzka-Smelser, M.M.	Guest Lecturer in Suzuki
Jake Muzzy, M.M.	Guest Lecturer in Violoncello
Steven Pierson, Ph.D.	Guest Lecturer in Music Education
Sharon Polifrone, M.M.	Guest Lecturer in Violin
Brian Porick, B.M.	Guest Lecturer in Digital Music Technology
Stephen Ramsdell, M.M.	Guest Lecturer in Guitar
Joseph Rodriguez, M.M.	Guest Lecturer in Trombone
Faye Seeman, M.M.	Guest Lecturer in Harp
Steven Sjobring, B.M.	Guest Lecturer in Music Education
Linc Smelser, M.M.	Guest Lecturer in Violoncello
Robin Sterling, M.M.	Guest Lecturer in Voice
Deborah Stevenson, M.M.	Guest Lecturer in Oboe
Anne Sullivan, M.M.	Guest Lecturer in Music
John Tate, B.A.	Guest Lecturer in Jazz String Bass
Brian Torosian, D.M.A.	Guest Lecturer in Classical Guitar
Paul Vanderwerf, D.M.	Guest Lecturer in Violin
Maria Walford, Ph.D.	Guest Lecturer in Italian
Glen West, B.M.	Guest Lecturer in Digital Music Technology
Greg Wheatley, M.M.	Guest Lecturer in Music Theory
Brad Williams	Guest Lecturer in Jazz Piano
Paul Zafer, M.M.	Guest Lecturer in Violin

Program Objectives

The Conservatory embraces the vision that all music-making is an outgrowth of God’s creativity and all human vocation is grounded in a life of worship and discipleship. To that end, the Conservatory provides a comprehensive program of music training that prepares students for diverse careers in music and for service to the church of Jesus Christ and to society. Course offerings affirm historical traditions while expanding knowledge of cultures throughout the world.

The Conservatory offers six professional degree programs: Bachelor of Music (Performance), Bachelor of Music (Composition), Bachelor of Music (History & Literature), Bachelor of Music Education, Bachelor of Music with Elective Studies in an Outside Field, and Bachelor of Music with Emphasis in a Music-Related Field. Additionally, liberal arts students may pursue a Bachelor of Arts Degree in Music or a music minor.

All music degree programs can be completed in eight semesters; however, nine semesters may be necessary for the Bachelor of Music Education degree. The Bachelor of Music Education degree is the approved teacher education program for students planning to teach elementary and/or secondary music and is the only means to Illinois state certification.

Admission

The Conservatory of Music is a department of the Division of Conservatory, Art and Communication at Wheaton College. Those wishing to pursue a Bachelor of Music or Bachelor of Music Education degree should use the Conservatory of Music application available online.

Those wishing to pursue a Bachelor of Arts degree in music should request an application to the Liberal Arts College. The deadline for Conservatory of Music applications is January 10 for the following academic year.

In addition to the requirements for college admission, the following are required for all Conservatory of Music applicants: an audition (see entrance requirements for Conservatory of Music majors), two Music Teacher References, and a Music Information Profile (in which the applicant details specifics about training and experience). Those interested in pursuing a Bachelor of Arts degree with a major in music are admitted on the same basis as other Liberal Arts applicants, without the Music Information Profile, Music Teacher References, or the audition; however, Bachelor of Arts music majors are encouraged to submit a recording to supplement their written application..

Current Liberal Arts students desiring to enroll in a B.M./B.M.E. degree program must complete the Music Information Profile, submit one Music Teacher Reference, and arrange an audition. Any student currently taking private lessons may, by prior arrangement, use their private lesson jury as an audition.

Entrance Requirements for Conservatory of Music Majors

(Bachelor of Music and Music Education)

Auditions are required of all applicants to the Conservatory of Music. On campus auditions are strongly recommended, and are required for applicants living within 350 miles of campus. Applicants living more than 350 miles from campus may submit a recorded audition, if necessary.

Instructions for Recorded Auditions

Acceptable formats, in order of preference, are: DVD, CD, VHS or audio cassette. The recording should not be edited or spliced. Please announce each piece before it is performed, allowing sufficient breaks between movements and selections. Repertoire requirements for recorded auditions are identical to those conducted on campus. Note: Instrumentalists should play no more than two scales and two arpeggios (four total). Mail the recording to: Admissions Office, Wheaton College, Wheaton, IL 60187-5593.

Bachelor of Music in Performance Requirements

The requirements that follow are for Bachelor of Music in Performance majors (performance levels are adjusted for other music degrees). Repertoire equivalent in difficulty is acceptable. Memorization is required for piano and voice auditions and recommended for all others. See additional requirements for Composition, and History/Literature degrees.

Bassoon—Major and harmonic minor scales through four sharps and four flats; an etude that provides a good representation of technical development, such as one of the Weissenborn Advanced Studies. A solo work demonstrating maturity as a musician: inclusion of both a fast and slow movement preferred.

Cello—Three octave major and harmonic minor scales through four sharps and four flats; an etude of the applicant’s choice; a first movement of a concerto, such as Haydn C Major or Boccherini Bb Major; a movement of a J.S. Bach suite.

Clarinet—Major and harmonic minor scales through four sharps and four flats (two octaves, tongued) E, F, and G scales should be three octaves. Two etudes of contrasting style: one demonstrating technical development, the other a slow etude from the Rose 32 Etudes. One solo piece such as: Weber Concertino, Weber Concerto No. 1 or 2 (one movement), Osborne Rhapsody, a Stamitz Concerto (one movement).

Doublebass—Three two-octave scales and one three-octave scale. An etude of the applicant’s choice, representing the highest level of technical achievement; two compositions of the applicant’s choice, at least of the difficulty level of the Eccles Sonata, or a concerto first movement; an orchestral excerpt, Mozart or Beethoven are recommended.

Euphonium—Major scales A flat, D flat, G flat, B, and chromatic scale through two octaves. An etude from Rochuet/Bordogni Melodious Etudes or equivalent. A technical etude from Tyrell, Kopprasch, or Arbans. A solo, such as Andante and Allegro by Barat, or Sonatina by Hutchinson.

Flute—Prepare either: Exercise EJ#4, in its entirety, from Taffanel-Gaubert – 17 Grands Exercises Journaliers de Mecanisme – or a complete exercise from Reichert – Seven Daily Exercises, op.5. Prepare an Etude or Caprice by Anderson, Berbiguier or Karg Elert. Prepare a work of your choice and one complete work by Bach, Mozart, or Handel.

Guitar—Etudes by Brouwer, Sor, Cacassi, Carulli, Giuliani, or Aguado. Two contrasting pieces—one piece, slower in tempo, should demonstrate an ability to shape phrases and control rubatos, tenutos, and dynamics. The second piece should be faster in tempo, demonstrating a technical command of scales, arpeggios, slurs, shifts, etc. Any dances from the Lute works or Cello works of J.S. Bach will be especially valuable at the audition, although not required. Jazz Guitar: Solo guitar arrangement of a jazz standard and an ensemble (or play-along) rendition of an up-tempo bebop (blues, rhythm changes, etc.) composition with a chorus of improvisation.

Harp—Scales and Tonic Glissandos in all Keys. Etudes such as Salzedo: Conditioning Exercises for Harp or Salzedo/Lawrence: Method for the Harp. Two contrasting pieces such as: Sonata in C minor by Peschetti, Sonatina I, II by Dusek, The Harmonious Blacksmith by Handel/Salzedo, Impromptu Caprice by Pierne, A Ceremony of Carols by Britten, Concerto in B Flat by Handel, or any of the following pieces by Salzedo: Suite of Eight Dances, Song in the Night, Tango, or Rhumba.

Horn—Three pieces of contrasting styles by different composers and periods which demonstrate range, technique, lyrical style, and dynamic contrast. Those auditioning for performance should prepare several varied orchestral excerpts.

Oboe—Major and harmonic minor scales through four sharps and four flats. An etude that demonstrates the fullest extent of the student's technical development. Three important orchestral excerpts, contrasting in nature, such as Brahms Violin Concerto, 2nd mvt., Beethoven Symphony No. 3, Overture to Italian in Algiers by Rossini.

Organ— (a) Two organ works of contrasting periods and styles, one fast and articulate, and the other slow and lyrical, demonstrating the student's best efforts and abilities; (b) one prepared hymn; (c) sight reading. Students with no previous organ study may elect to audition on piano with pieces such as 1) two J.S. Bach Two- or Three-part Inventions, 2) a fast movement from a Classical sonata (Haydn, Mozart, Beethoven, et al.), 3) a Romantic or 20th-century work.

Percussion—Performance on snare drum, keyboard percussion, and timpani. Any solo, etude, or excerpt that best reflects the student's experience and ability as a percussionist in these areas will be accepted.

Piano (Bachelor of Music in Performance and Bachelor of Music with Emphasis in Collaborative Piano)—Three compositions: 1) a Bach three-part Sinfonia or a Prelude and Fugue from the Well-Tempered Clavier; 2) an Allegro movement from a sonata by Haydn, Mozart, or Beethoven (achievement level of at least Haydn D Major, Hob.XVI:37, Mozart K. 282, or Beethoven Op. 79); 3) either a nineteenth- or a twentieth-century work (achievement level of at least Schubert Impromptu, Op. 142 No. 2, Bartok Sonatina, or Debussy Arabesque). Prepare four major and four harmonic minor scales: two should begin on a black note and two on a white note., each performed over a four-octave span, hands together, minimum quarter note = 84, 4 notes per beat. Major and minor triad arpeggios in the same sharp keys and flat keys, four-octave span, hands together, minimum quarter note = 72, 4 notes per beat. Applicants also must submit a repertoire list of significant works performed over the last four years.

Piano (All other music degrees)—Three compositions: 1) a Bach two-part Invention; 2) an Allegro movement from an easier sonata by Haydn, Mozart, or Beethoven (achievement level of at least Beethoven Op. 49 No. 1 or Mozart K. 545); 3) either a nineteenth- or twentieth-century work (achievement level of at least Chopin Prelude Op. 28 No. 6, Schumann Scenes of Childhood, Roy Harris Little Suite, Kabalevsky Sonatina OP. 13 No. 1). Prepare four major and four harmonic minor scales: two should begin on a black note and two on a white note. each performed over a four-octave span, hands together, minimum quarter note = 72, 4 notes per beat. Major and minor triad arpeggios in the same sharp keys and flat keys, four-octave span, hands together, minimum quarter note = 60, 4 notes per beat. Applicants also must submit a repertoire list of significant works performed over the last four years.

Saxophone—Major and harmonic minor scales through four sharps and four flats; these scales should be played the full range of the instrument. Chromatic scale throughout the full range of the instrument. Two etudes of contrasting style: one demonstrating technical development, the other a slow etude. (i.e. the Ferling Studies.) These studies should demonstrate the fullest extent of the student's musical development. A major work such as the Glazounov Concerto or the Creston Sonata.

Trombone— Major scales Ab, Db, Gb, B, and chromatic scale through two octaves. An etude from Rochuet/Bordogni Melodious Etudes or equivalent. A technical etude from Tyrell, Kopprasch, or Arbans. An etude from Blazhevich Studies in Clefs (Alto and Tenor Clef). A solo such as Guilmant: Morceau Symphonique, David, Larsson. Bass trombone: Solo such as Lebedev, McCarty, Three Easy Pieces by Hindemith, or Concertino by Lieb.

Trumpet—Three contrasting trumpet solos that demonstrate an understanding of style, interpretation, and phrasing, as well as tone quality, dynamics, range, and technique. Select solos from three different historic/stylistic periods. For example: Handel, Concerto in D Minor, Hummel, Concerto in E flat Major, and the Concerto by Arutunian. Please play only representative passages from the solos. Also include three orchestral excerpts.

Tuba—Major scales Ab, Db, Gb, B, and chromatic scale through two octaves. A legato etude from Concone, Fink, or Bordegni/Rochnet. A technical etude from Tyrell, Kopprasch, or Arbans. A solo such as Suite for Tuba by Hadad, Concertino by Frackenpuhl, Air and Bourée by Bach, Adagio and Allegro by Telemann.

Viola—Scales and Arpeggios: D major and D minor (harmonic or melodic) 3-octave scales and arpeggios to be played slurring three notes at a time. One etude from Kreutzer, Mazas, Campagnoli, or Fuchs. Two contrasting movements from either: Bach – Cello Suites, Violin Sonatas and Partitas , or Telemann – Fantasies, or M. Reger Suite No 1 in G minor. One movement from a substantial work such as: Hoffmeister- Concerto in D Major (mvt I), Stamitz- Concerto in D Major (mvt 1 or 3), Bloch- Suite Hebraique (mvt 1), J.C Bach-Concerto (mvt 1 or 3), Hindemith- Trauermusik (all mvts), Hindemith- Der Schwanendreher (mvt 1 or 2), Schumann- Fairy Tales (any mvt), Schubert- Arpeggione Sonata (any mvt), Walton- Concerto for Viola (mvt I), Bartok- Concerto for Viola (mvt 1), Brahms- Sonatas Op. 120 No. 1 or 2 (any mvt), Bruch- Romance.

Violin—Three octave major and melodic minor scales and arpeggios through four sharps and four flats; a movement of a solo Bach sonata or partita; an etude, such as Kreutzer, Dont, or Rode; a first movement of a standard concerto, such as Mozart, Mendelssohn, Bruch, Lalo, or Barber. Applicants are welcome to demonstrate any work they may have done in improvisation or composition.

Voice—Three songs of contrasting nature: 1) An Italian, German, or French art song; 2) An American or British art song; 3) Own choice. Tonal quality, pitch perception, and poetic sense will be evaluated along with sight singing and rhythm. An accompanist is provided for all voice auditions. Please notify the Conservatory Admissions Counselor if you will not need the staff accompanist.

Additional Requirements for Specific Music Degrees

Bachelor of Music (Composition). In addition to the performance audition, applicants should sumit scores and, if possible, recordings of at least three original compositions.

Bachelor of Music (History and Literature). In addition to the performance audition, applicants should submit a paper (2-3 pages in length) demonstrating both writing skills and interest in historical music.

Performance Opportunities

The Conservatory of Music maintains six large scale performing ensembles: Concert Choir, Jazz Ensemble, Men's Glee Club, Symphonic Band, Symphony Orchestra, and Women's Chorale. Performance opportunities are numerous and varied, including on-campus concerts and off-campus presentations in churches, schools, and concert halls.

Student recitals and studio classes are held regularly; junior and senior recitals are presented throughout the school year. Additional performance opportunities are available through the Percussion Ensemble, jazz combos, and string, woodwind, and brass chamber music ensembles. Opera Music Theater stages a production every year.

The Conservatory’s annual Concerto Competition features divisional competitions for keyboard, winds/percussion, strings, and voice. Divisional winners perform with the Wheaton College Symphony Orchestra and receive the Concerto Competition Prize. A Finalist is chosen from among the divisional winners and becomes the recipient of the Ben Heppner Prize. A Chamber Music Competition is also held annually. Finalists for the Concerto and Chamber Music Competitions are featured on the Festival of Faith. There is also an annual composition competition.

Other Music Opportunities

TThe Artist Series at Wheaton College brings to campus such internationally renowned artists and ensembles as Sylvia McNair, Canadian Brass, Royal Philharmonic Orchestra, and conductor Lorin Maazel. Orange and Blue On Stage features a variety of faculty soloists and ensembles, emphasizing the integration of teaching and performing.

Off-campus summer programs include Arts in London and Music and Ministry in the Great Cities of Europe. More information about these programs is available at www.wheaton.edu/conservatory.

Membership in the Music Educator's National Conference (MENC) is open to all students and faculty. Local collegiate MENC chapter meetings are held, field trips are taken, and participation in state and national conferences and clinics is encouraged. Membership in the student chapter of the American Guild of Organists (AGO) is open to organists as well as others seeking extracurricular experience in church music and professional organ playing. Participation in the National Association of Teachers of Singing (NATS) is open to voice students and offers competitive experiences, as well as special events for young singers. Membership in the international Percussive Arts Society (PAS) is open to percussion students. Benefits include access to publications, online research tools and the annual convention (PASIC), which features concerts, clinics, master classes and presentations, showcasing all areas of percussion.

Music Resources

The music holdings of the Buswell Memorial Library include 7,000 music books, 13,000 scores, 60 music journal subscriptions, 5,000 audio compact discs and a total of 11,000 recordings. There are seven listening stations and four portable CD players, as well as a group listening room and a seminar/teleconferencing room. In addition, the library holds the complete works of 60 composers.

The Music Technology Lab includes 16 workstations each with Kawai 88-note weighted action digital pianos. Apple G5 computers equipped with Finale 2008 and Sibelius 5 notation software, Apple Logic Express 7 MIDI / audio sequencing software and Digidesign Pro Tools 7 LE.

The Digital Music Technology Studio houses a complete 5.1 surround sound system utilizing sound modules from Korg, Nord, Roland and Yamaha, software including Logic Pro 7, Pro Tools 7 LE, Finale 2008, Sibelius 5, virtual instruments from Applied Acoustics, Camel Audio, Native Instruments and Spectrasonics, and plug-ins from AudioEase and Waves. Sample Libraries include the Vienna Symphonic Library Pro Edition and Peter Siedlaczek’s Advanced Orchestra.

Shea Studio, located in the Billy Graham Center, is a state-of-the-art, 5.1 surround sound Pro Tools/HD based digital recording studio.

Conservatory keyboard instruments include a spectacular four-manual, 50-stop, 70-rank Casavant tracker organ, Op. 3796, with dual mechanical action and digital consoles, the largest of its type in the area. In addition, the Conservatory has available a number of other organs for practice and performance, including a two-manual Schlicker, two two-manual Roderer mechanical-action instruments, an additional two-manual tracker by Charles Ruggles, and a continuo-portative organ built by Thomas Donahue after Gerhard Brunzema. Harpsichords include instruments by Kingston and Sabathil; six concert grand pianos, including a Shigeru Kawai EX 9’ concert grand, and approximately 80 teaching and practice pianos. More than 300 orchestral instruments are available for training, practice and performance.

Degree Requirements

The Conservatory of Music offers six degree programs: Bachelor of Music (Performance), Bachelor of Music (Composition), Bachelor of Music (Music History & Literature), Bachelor of Music Education, Bachelor of Music with Elective Studies in an Outside Field, and Bachelor of Music with Emphasis in a Music-Related Field. Additionally, the Bachelor of Arts (Music) is available through the Arts & Sciences.

Revision Date: June 1, 2011

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