University of North Texas College of Music

__________________________________________________________________________________________Course Title: Choral Conducting Semester: Spring Year: 2017Course Number: MUAG 3820 Credits: 2 Class Times: MW 8:00-9:30Location: Room 232, Choral Rehearsal Office: MB 210A Instructor: Dr. Alan McClung Office Hours: TR 1:00-2:30 + appointments Phone: 940-369-7936 Email: alan.mcclung@unt.edu

Course Description: Advanced study of choral conducting and rehearsal techniques, score reading, and interpretation.

Prerequisite: Conducting 1 1. Expectations:

a. Fundamental conducting patterns (4/4, 3/4, 2/4, and 6/8) are consistently clear. b. Body and arm gesture is emotionally and physically at peace.

I. Course Goals: To develop a controlled conducting technique. To identify the responsibilities of a conductor. To become familiar with a broad repertoire of choral music representing a variety of periods and composers.

To develop insights into music interpretation and stylistic nuance through score study and listening skills.To select works that are applicable to the performing forces available.To develop score study and score preparation techniques. To develop efficient rehearsal techniques by complementing verbal communications with non-verbal communication techniques.To pinpoint, diagnose, and offer feasible solutions for music passages that need assistance.

II. Course Outline A. The relationship between non-verbal communications and conducting gestures.B. Conducting: The artistic application of technical skills.

1. Connecting the preparatory gesture with the singers’ breath.2. Reflecting the tempo, dynamics, mood, articulation, style, and vowel shape in the preparatory gesture.3. Identifying the ictus and defining the &s in rounded vs. pointed beats.4. Identifying the ictus and defining the &s in accelerando and ritardando. 5. Identifying the effect of horizontal gesture vs. vertical gesture.6. Showing dynamics through the use of conducting cubes. 7. Identifying the effect of arsis vs. thesis, ups (raising) vs. downs (lowering).8. Identifying the effect of different release gestures on sound. 9. Identifying different fermatas types. 10. Identifying the effect of eye contact on the singers. 11. Connecting the secondary hand with various articulations and cueing gestures.12. Applying the conductor’s musical imagination to the time between the beats 13. Applying the conductor’s musical imagination to the text. 14. Identifying conducting patterns associated with mixed meter, asymmetrical meter,

and non-metered music.

C. Rehearsal Techniques1. Identifying the relevance of rehearsal planning, score study, and score markings. 2. Developing the listening skills to pinpoint and diagnose musical passages that need

special assistance.3. Developing a variety of feasible solutions that can be applied to musical

passages that need special assistance. 4. Developing a choral sound: vocal tone, vowel structure, choral blend, and balance.5. Developing an awareness of stylistic and scholarly issues. 6. Developing an awareness of the differences in original, edited, and arranged compositions. 7. Developing techniques to teach pitches and intonation. 8. Developing techniques to teach rhythmic accuracy and vitality.

Grading Procedures:

Video Self-Assessment Forms.................10 forms x 7 pts...………………………....................70 pointsQuestions on Reading #1: The Challenge of Choral Leadership ....……………………............. 10 pointsEichenberger Video Overview Paper………………..10 points (EXTRA CREDIT DUE BY CLASS 12) Questions on Reading #2: A Guide for Planning the Choral Rehearsal ……………………..….10 pointsQuestions on Reading #3: The Tools of a Choral Musician……………………………….……..10 pointsConducting Midterm Exam …………........................................................................................ .. 60 pointsConducting Final Exam ………………………………………………..........................................80 pointsWritten Final Exam.........................................................................................................................30 points

Note: Positive participation skills are expected. Participation points can be added or deducted to any of the categories listed above.

Total...............................................................................................................................................270 points 90% = A 80% = B 70% = C 60% = D Below 60% = F

Overview of Expectations

Attendance: Because of your role as a podium conductor and participating chorister: 1 prompt and consistent attendance is required.2 tardy: three late arrivals or early departures = 1 absence. Two [20] minute tardies/departures = 1 absence 3 coming or going during class time is disruptive to class flow. Such instances are recorded as a tardy.4 The accumulation of four absences requires the student to drop the class.

Class Participation: Each student conductor deserves your very best efforts. When not conducting, each student is expected to become a contributing member of the choir. A contributing member includes positive nonverbal language, a positive attitude, a professional singer’s posture , and a healthy singing voice. Failure to demonstrate these expectations will result in a deduction of points earned. In-class off-task behaviors, such as attending to a cell phone or out-side-of-class assignments, are perceived as unacceptable behaviors that can lead to disciplinary actions and even dismissal from the course.

Video Self-Assessment Sheet: Each individual conducting event will be recorded on a SD Card, supplied by the student conductor. Following each individual podium segment, the student is required to view the recording and respond thoughtfully to the questions on the video self-assessment sheet. Sheets are due and required prior to each new individual podium segment. Points are earned by completing the sheet in a comprehensive and timely manner.

2Conducting Rotations: Following a class rotation format, each student will be assigned a specific conducting date. The conducting rotation is posted in your syllabus. Within a single, specific rotation, students may exchange dates with other students by following a specific procedure; both parties must indicate the agreed date exchange in writing. Missed conducting sessions can not be made up. Loss of a conducting rotation session (for any reason) is an automatic loss of points for that particular rotation.

Reading Assessments: For each of the three reading assignments, you are asked to generate three multiple-choice questions that broadly reflect the purpose of the article and its vocabulary. Questions should be typed, well-written, and thought-provoking. The answer to each question will be indicated in BOLD print. Bring a copy on the due date at the start of class and send a copy (New Times Roman - 12 point) by email attachment in Microsoft Word to [alan.mcclung@unt.edu]. In the subject heading identify the assignment with the following heading: Conducting Reading No. 1, 2, or 3. To receive full credit, each segment of the assignment must be completed in detail. Should this assignment create a hardship, please make a request through email for special consideration prior to the due date. If the instructor agrees that there are legitimate extenuating circumstances, special consideration may be granted.

Video Viewing Assessment: The extra credit project of the Rodney Eichenberger video-tape “What They See Is What You Get” requires a well written paper, typed with double-spacing. Rather than an “opinion” paper, this paper is a comprehensive overview of the video’s primary points, related to conducting. Stored in Dr. McClung’s office, a request is required if would like to have the video placed on reserve in the 3rd floor, Music Education Library. The two McClung articles on nonverbal gesture may be used to support the concepts presented in the video. The McClung articles can be downloaded from on-line at UNT faculty bios. Grading points will be deducted for a poorly conceived paper and/or a late submission.

Conducting Midterm: Each student is required to conduct a student selected work, approved by the instructor. During podium time, the student is asked to reflect techniques demonstrated in class. The assessment sheet is enclosed. This assessment sheet will be completed by your peers, the instructor, and the student conductor. Within one week of the conducting date, the student is required to complete an out-of-class assessment session though office door sign-up to compare a response analysis. The appropriate grade will be discussed and determined by the instructor and the student. Failure to complete the midterm requirements will result in a deduction of points earned and no student input. The music used in the conducting midterm is a “student score selection.” For questions or personalized help, ask Dr. McClung.

Student Score Selection: Searching and choosing music wisely is a conductor’s responsibility. When stated in the class schedule, the student is required to select a work to conduct in class and to bring a sufficient number of copies to class. The score selected must be approved by instructor. Approval of midterm selection must be completed by Class 14. Music may be chosen from the UNT Choral Library or any outside source such as the Choral Public Domain Library. Simply Google: CPDL. To use the UNT Choral Library, see the choral librarian for details. The selected work should reflect quality choral art literature composed by master composers (tier I or tier II status). The selected work can be the entire work or a meaningful part of the whole, 2 to 3 minutes in length. Section considerations should include the performing forces available, the musical range and tessitura, the number of parts, the level of difficulty for singers and accompanist, the amount of available podium time, and music availability. For additional help, ask Dr. McClung. On-line Recordings: Naxos: www.unt.naxosmusiclibrary.com/catalogue/item

On-line Recordings: Spotify: https://www.spotify.com/us/On Line Literature: Choral Public Domain Library: www.cpdl.org

Conducting Final: Each student is required to conduct a student selected or assigned score. Selected scores are expected to reflect quality original art music by tier I or tier II composers. Podium time is to be considered a rehearsal. The student is asked to choose the music, demonstrate problem solving techniques, to articulate a plan, and to demonstrate the nonverbal conducting techniques used during the semester. The assessment sheet used for the conducting final will be the same sheet used for the conducting midterm. Following your conducting session, please turn in a marked score. Score

markings that are thorough and thoughtful can be rewarded with bonus points. Information continued on next page.3

Markings should resemble the model provided in the handout article by Don Neuen. When marking your score consider this short list: breath markings, phrase markings, syllable inflection, appropriate vowel formation, cues, meter changes, meter groupings, dynamics, forward motion, tempo changes, beginning and ending consonants, text translations, pitch and rhythm teaching approach, tuning issues, stylistic considerations, and composer background. The appropriate grade will be determined by the instructor.

Conducting Take-Home Final: The take-home final is comprised of 10 essay questions. Questions are constructed to reflect conducting concepts that have been read, discussed, or practiced during the semester. Each response should begin by stating the question provided on the take-home handout. Answer content should be thorough yet succinct, clearly stated, well written, and typed with double-spacing. Although students may discuss the questions outside class, the finished, written product must reflect the student’s own words. Papers are due no later than 10:00 a.m., Tuesday of Exam Week.

Materials: SD ScanDisk $18.00 at Best Buys Conducting Music Packet: $9.00. Make check out to Pender’s Music.

Required Text:Webb, Guy B., (1993). Up Front! Becoming the Complete Choral Conductor. E.C. Schirmer Music Company Inc.

Articles: McClung, A.C. (1996). The Relationship of Nonverbal Communication and Conducting: An Interview with Rodney

Eichenberger: Choral Journal. (5), 17-24. Note: Access on-line at UNT faculty bios.McClung, A. C. (2005) Using Video Self-Assessment to Enhance Nonverbal Conducting Gesture. Choral Journal. Note: Access on-line at UNT faculty bios.

Recommended Texts:Ammer,C., (1989). The A to Z of Foreign Musical Terms. E.C. Schirmer Jeffers, R. (1988). Translations and Annotations of Choral Repertoire, Volume 1: Sacred Latin Texts

Earthsong; Corvallis, OR.Jeffers, R. (2000). Translations and Annotations of Choral Repertoire, Volume I1: German Texts

Earthsong; Corvallis, OR.Garretson, R.L., Conducting Choral Music (8th edition). Prentice Hall; Englewood Cliffs, NJJordan, J. (1996) Evoking Sound: Fundamentals of Choral Conducting (Second Edition). GIA Publication. Neuen, D. (2002). Choral Concepts. Wadsworth Group.

Additional Recommended Text Sources: Decker, H.A. & Herford, J. (1973). Choral Conducting: A Symposium. Prentice Hall, Inc. Green, E. A. H. (1992) 5th edition. The Modern Conductor. Prentice Hall, Inc

Extra opportunities?

Individualized sessions are available to all students. Inquire directly with Dr. McClung to request a session to clarify information and to practice techniques.

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MUAG 3820 Class ScheduleClass 1 W/1/18 Topics:

1.The relationship of non-verbal communications and

conducting gestures.2. The importance of the preparatory

beat and the preparatory breath. 3. How the prep beat can offer information related to breath, tempo, dynamics, mood, style, and even vowel shape.3. A review of traditional conducting patterns and defining the ictus. 4. Horizontal vs. vertical gesture. 5. Downs vs. ups, arsis vs. thesis. 6. Mirroring and Independence of

hands: Silverware exercise 7. Eye contact. 8. Choose Conducting Orders (p) = published packet (ho) = handout packet

Class 2 M/1/23 Student Conductors Group A Music for Set 1:Britten/ Sally Gardens (published packet)Paulus/ Hear My Words (p)

Topics:1. Preparatory gestures: beat, singer’s posture breath, eye contact, dynamics, mood, articulation, style, and vowel shape. 2. Release gestures3. Eyes on ensemble and out of score4. Attached beats vs. detached beats5. Mirroring and independence of

hands

Class 3 W/1/25 Student Conductors Group B Music for Set 1

Topics: 1. Rounded beats vs. pointed beats2. Speeding up vs. slowing down 3. Horizontal vs. vertical gesture4. An up gesture vs. a down gesture 5. Dynamics cubes

Reading Assignment #1 is due in Class 5: In Up Front edited by Guy Webb. The Challenge of Choral Leadership in the Twenty-First Century by Ray Robinson. Value: 0-10 points

5Reading Assessment: You are asked to generate three typed, well-written, thought-provoking, multiple-choice questions that broadly reflect the purpose of the article and its vocabulary. Include your answers in BOLD. Bring a hard copy to class and email a copy (New Times Roman - 12 point) by Microsoft Word attachment to [alan.mcclung@unt.edu] Please see OVERVIEW of EXPECTATIONS for greater detail. Due: Class 5, 8:00 a.m. To receive full credit, each segment of the assignment must be completed in detail. Should this assignment create a hardship, please make a request for special consideration in writing prior to the due date. If the instructor agrees that there are legitimate extenuating circumstances, special consideration requests may be granted. Value 0-10 points.

Class 4 M/1/30 Student Conductors Group A Music for Set 2Bach/ Oh Sacred Head, Now Wounded (handout)Bach/ From Depths of Woe I Cry to Thee (ho)Bach/ Wake, Awake, for Night Is Flying (ho)

Beethoven/ The Heav’ns Are Telling (ho)

Topics: 1. Fermatas (3 types)2. Review

Class 5 W/2/1 Student Conductors Group B Music for Set 2Topics: 1. Fermatas (3 types)2. Discussion of reading 3. Review

Reading Assessment #1 is due today, 8:00 a.m.: In Up Front, edited by Guy Webb, The Challenge of Choral Leadership in the Twenty-First Century by Ray Robinson.

Reading Assignment #2 is due in Class 8: In Up Front edited by Guy Webb. Rehearsal Techniques: A Guide for Planning the Choral Rehearsal by James M. Jordan.

You are asked to generate three typed, well-written, thought-provoking, multiple-choice questions that broadly reflect the reading assignment and its vocabulary. Include your answers in BOLD. Bring a hard copy to class, and email a copy (New Times Roman - 12 point) by attachment to [alan.mcclung@unt.edu] Please see OVERVIEW of EXPECTATONS for greater detail. Due: Class 8, 8:00 a.m. To receive full credit, each segment of the assignment must be completed in detail. Should this assignment create a hardship, please make a request for special consideration in writing prior to the due date. If the instructor agrees that there are legitimate extenuating circumstances, special consideration requests may be granted. Value 0-10 points. Class 6 M/2/6 Student Conductors Group A Music for Set 2

Topics:1. Fermatas

2. The power of eye contact3. Review

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Class 7 W/2/8 Student Conductors Group B Music for Set 2

Topics:1. Cueing and hand independence 2. Hemiola3. The accompanist

Class 8 M/2/13 Student Conductors Group A Music for Set 3: Tallis/ If Ye Loved Me in 4/4 (handout)Handel/ And the Glory of the Lord (Messiah)(ho) Vivaldi/ Domini Fili Unigenite, (Gloria) (ho)

Topics:1. Cueing and hand independence2. Is there a difference: 4/4 and 2/23. Stylistic considerations 4. Discussion of Reading

Reading Assessment #2 is due today, 8:00 a.m.: In Up Front edited by Guy Webb. Rehearsal Techniques: A Guide for Planning the Choral Rehearsal by James M. Jordan.

EXTRA CREDIT PROJECT: Video Viewing Assignment and Assessment: (1’20”) What They See Is What You Get by Rodney Eichenberger. (On Reserve in the Music Education Resource Library on the 3rd floor of the Music Building- if not there, check with instructor.)

Using good writing techniques, write a comprehensive overview paper of this video-tape. This should not be an “opinion” paper, but an overview of the specific points that are applicable to the art of conducting. Hardcopy due: Class 12, 8:00 a.m. See overview of expectations for specific details.

Supplemental Articles: Access at UNT faculty bios

McClung, A.C. (1996). An Interview with Rodney Eichenberger: The Relationship of Nonverbal Communication and Conducting. Choral Journal 5 (May), 17-24.

McClung, A.C. (2005). Using Video Self-Assessment to Enhance Nonverbal Conducting Gestures. Choral Journal 45(9), 27-35.

Class 9 W/2/15 Student Conductors Group B Music for Set 3

Topics:1. Cueing: Prep gesture should be larger than the

entrance gesture 2. The relevance of rehearsal planning, score study, and score markings.

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Class 10 M/2/20 Student Conductors Group A Music for Set 3

Topics: 1. Cueing: Prep gesture should be larger than the entrance gesture 2. The relevance of rehearsal planning, score study, and score markings. 3. Words, the text, the poetry, the message, the story, the singer, the choir. “Now is the time to acknowledge the importance of text to a singer.”

Class 11 W/2/22 Student Conductors Group B Music for Set 3Topics: 1. Cueing: Prep gesture should be larger than the entrance gesture.2. The relevance of rehearsal planning, score study

and score markings. 3. Words, the text, the poetry, the message, the story the singer, the choir. “Now is the time to acknowledge the importance of text to a singer.” 4. Midterm Order Drawing

Class 12 M/2/27 Student Conductors Group A Music for Set 4 Parker/Shaw/ What Child Is This (p) Mendelssohn/ Die Nachtigall (p)

Topics:1. Score markings

2. Realizing your musical imagination 3. Exploring the time between the beats 4. Eyes on ensemble and out of score5. Can you listen while your arms are moving?

Extra Credit Project: Eichenberger Paper is due today, 8:00 a.m.

Class 13 W/3/1 Student Conductors Group B Music for Set 4

Approval of Student Selection for Mid-Term Conducting Final: Due prior to Class 15!!

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Topics:1. Score markings2. Realizing your musical imagination 3. Exploring the time between the beats 4. Eyes on ensemble and out of score5. Can you listen while your arms are moving?

Class 14 M/3/6 Student Conductors Group A Music for Set 4

Approval of Student Selection for Mid-Term Conducting Final: Due prior to Class 15!! March 8-11 ACDA National Conference Minneasota, MN

Class 15 M/3/20 Student Conductors Group B Music for Set 4

Class 16 W/3/23 Student Conductors (1st half) Student Score Selections

Class 17 M/3/27 Student Conductors (2st half) Student Score Selections

Following the date of the midterm, students have one full week to attend to the individual appointment sessions that are required. A sheet with sign-up times can be found on the board by my office door, Rm 210A. See Overview of Expectations for specific details.

Class 18 W/3/29 Student Conductors (1st half) Conducting Midterm Class 19 M/4/3 Student Conductors (2nd half) Conducting Midterm

Class 20 W/4/5 Student Conductors Group A Music for Set 5: *Lange/ Esto Les Esto (p)

*Each conducting student is expected to *Durufle/ Ubi Caritas (p check out)conduct the Lange or the Durufle. *Brunner/ Cantate Domino (p check out)

*Each conducting student is expected to conduct Topics:the Brunner. 1. Mixed, Asymmetrical and Non-Metrical

Meters2. Determining feasible solutions to

musical challenges 3. Managing the rehearsal

Class 21 M/4/10 Student Conductors Group B Music for Set 5

Topics:

1. Mixed, Asymmetrical and Non-Metrical Meters2. Determining feasible solutions to

musical challenges3. Managing the rehearsal 4. Choose conducting order for final.

9Reading Assignment #3 is due in Class 21: In Up Front by Guy Webb. The Tools of a Choral Musician by Guy Webb. Value 0-10 points.

Reading Assessment: You are asked to generate three typed, well-written, thought-provoking, multiple-choice questions that broadly reflect the reading assignment and its vocabulary. Include your answers in BOLD. Bring a hard copy to class, and email a copy (New Times Roman - 12 point) in by attachment in Microsoft Word to [amcclung@music.unt.edu] Due: Class 21. To receive full credit, each segment of the assignment must be completed in detail. Should this assignment create a hardship, please make a request for special consideration in writing prior to the due date. If the instructor agrees that there are legitimate extenuating circumstances, special consideration requests may be granted. Value 0-10 points

Class 22 W/4/12 Student Conductors Group A Music from Set 5

Topics:1. Mixed, Asymmetrical and Non-Metrical

Meters2. Determining feasible solutions to

musical challenges3. Managing the rehearsal

Approval of Student Selection for Conducting Final: Due prior to Class 23!!

Class 23 M/4/17 Student Conductors Group B Music from Set 5Topics:1. Q. and A. session

Reading Assessment #3 is due today, 8:00 a.m.: In Up Front by Guy Webb. The Tools of a Choral Musician by Guy Webb.

Distribution of Take-Home Final. Due date: 10:00 a.m. Tuesday of Final Exam Week. Answers must be thorough and well written and in your own words. Please see details in the syllabus, Overview of Expectations. Turn in location: Dr. McClung’s Office MB 210A. Late papers are not accepted.

Class 24 W/4/19 Conductors Students (1st half) Student Score Selections or Assignments

Class 25 M/4/24 Conducting Students (2st half)Student Score Selections or Assignments

Class 26 W/4/26 Conducting Students (1st half)CONDUCTING FINAL

JURY WEEK (May 1-5)Class 27 M/5/27 Conducting Students (1nd half) CONDUCTING FINAL

Class 28 W/5/3 Snow Day Built Into Schedule—Everything shifts!

Written Take-Home Final is due: 10:00 a.m. of Finals Week

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How to Listen

“Picture a dial. While the choir is singing, slowly turn the dial and focus your concentration on one element of music at a time. Spend considerable time listening to one element – pitch, for example. Quality, amplitude, accuracy intonation, balance, dynamics, articulation, phrasing – all of these characteristics may enter into your assessment of the choir’s pitch.

Next, picture the dial in your mind and turn it to timbre, or a combination of both pitch and timbre, since these two elements can be closely related in function. Vowels, color, sonority, texture – all are facets of timbre upon which to concentrate. Then, listen for duration. This is a complex activity, because duration will overlap with pitch, timbre, and intensity. Specific aspects of listen to duration will be linked inevitably to rhythmic accuracy, to ensemble rhythm, to tempo, to metric structure, and to speed of harmonic rhythm. The expressive elements – dynamics, phrasing, articulation, rubato, linear direction – are served by duration as well as intensity.

Now, turn the dial to intensity. Dynamics and color may leap into mind; or balance considerations will become immediately apparent. One may focus on each of the expressive elements of music by using “the dial” and listening for articulation or phrasing or line or rubato. Intensity serves most substantially, however, dynamics and balance.”

Taken from: Mastery of Choral Ensemble by Jameson Marvinfound in Up Front! Edited by Guy Webb; page 114.

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From Dr. Warren Henry, Academic Dean for UNT’s College of Music

ACADEMIC INTEGRITYStudents caught cheating or plagiarizing will receive a "0" for that particular assignment or exam [or specify alternative sanction, such as course failure]. Additionally, the incident will be reported to the Dean of Students, who may impose further penalty. According to the UNT catalog, the term “cheating" includes, but is not limited to: a. use of any unauthorized assistance in taking quizzes, tests, or examinations; b. dependence upon the aid of sources beyond those authorized by the instructor in writing papers, preparing reports, solving problems, or carrying out other assignments; c. the acquisition, without permission, of tests or other academic material belonging to a faculty or staff member of the university; d. dual submission of a paper or project, or resubmission of a paper or project to a different class without express permission from the instructor(s); or e. any other act designed to give a student an unfair advantage. The term “plagiarism” includes, but is not limited to: a. the knowing or negligent use by paraphrase or direct quotation of the published or unpublished work of another person without full and clear acknowledgment; and b. the knowing or negligent unacknowledged use of materials prepared by another person or agency engaged in the selling of term papers or other academic materials. LINK: http://facultysuccess.unt.edu/academic-integrity

STUDENT BEHAVIOR Student behavior that interferes with an instructor’s ability to conduct a class or other students' opportunity to learn is unacceptable and disruptive and will not be tolerated in any instructional forum at UNT. Students engaging in unacceptable behavior will be directed to leave the classroom and the instructor may refer the student to the Dean of Students to consider whether the student's conduct violated the Code of Student Conduct. The university's expectations for student conduct apply to all instructional forums, including university and electronic classroom, labs, discussion groups, field trips, etc. LINK: Student Code of Conduct - https://deanofstudents.unt.edu/conduct

ACCESS TO INFORMATION – EAGLE CONNECT Your access point for business and academic services at UNT occurs at my.unt.edu. All official communication from the university will be delivered to your Eagle Connect account. For more information, please visit the website that explains Eagle Connect. LINK:  eagleconnect.unt.edu/ 

ADA STATEMENT The University of North Texas makes reasonable academic accommodation for students with disabilities. Students seeking accommodation must first register with the Office of Disability Accommodation (ODA) to verify their eligibility. If a disability is verified, the ODA will provide you with an accommodation letter to be delivered to faculty to begin a private discussion regarding your specific needs in a course. You may request accommodations at any time, however, ODA notices of accommodation should be provided as early as possible in the semester to avoid any delay in implementation. Note that students must obtain a new letter of accommodation for every semester and must meet with each faculty member prior to implementation in each class. For additional information see the Office of Disability Accommodation.LINK: disability.unt.edu. (Phone: (940) 565-4323)

Spring Semester Academic Schedule (with Add/Drop Dates)http://catalog.unt.edu/content.php?catoid=15&navoid=1228

Final Exam Schedule

http://registrar.unt.edu/exams/final-exam-schedule/spring

Financial Aid and Satisfactory Academic Progress

UndergraduatesA student must maintain Satisfactory Academic Progress (SAP) to continue to receive financial aid.  Students must maintain a minimum 2.0 cumulative GPA in addition to successfully completing a required number of credit hours based on total registered hours per term.   Students cannot exceed attempted credit hours above 150% of their required degree plan.  If a student does not maintain the required standards, the student may lose their financial aid eligibility.

Students holding music scholarships must maintain a minimum 2.5 overall cumulative GPA and 3.0 cumulative GPA in music courses.12

If at any point you consider dropping this or any other course, please be advised that the decision to do so may have the potential to affect your current and future financial aid eligibility. It is recommended that you to schedule a meeting with an academic advisor in your college or visit the Student Financial Aid and Scholarships office to discuss dropping a course being doing so.LINK: http://financialaid.unt.edu/sap GraduatesA student must maintain Satisfactory Academic Progress (SAP) to continue to receive financial aid. Students must maintain a minimum 3.0 cumulative GPA in addition to successfully completing a required number of credit hours based on total registered hours per term. Music scholarships require a 3.5 cumulative GPA. Students cannot exceed maximum timeframes established based on the published length of the graduate program.  If a student does not maintain the required standards, the student may lose their financial aid eligibility.

If at any point you consider dropping this or any other course, please be advised that the decision to do so may have the potential to affect your current and future financial aid eligibility. It is recommended you schedule a meeting with an academic advisor in your college, an advisor in UNT-International or visit the Student Financial Aid and Scholarships office to discuss dropping a course.LINK: http://financialaid.unt.edu/sap

RETENTION OF STUDENT RECORDS Student records pertaining to this course are maintained in a secure location by the instructor of record. All records such as exams, answer sheets (with keys), and written papers submitted during the duration of the course are kept for at least one calendar year after course completion. Course work completed via the Blackboard online system, including grading information and comments, is also stored in a safe electronic environment for one year. You have a right to view your individual record; however, information about your records will not be divulged to other individuals without the proper written consent. You are encouraged to review the Public Information Policy and the Family Educational Rights and Privacy Act (FERPA) laws and the university’s policy in accordance with those mandates.Link: essc.unt.edu/registrar/ferpa.html

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