California State University, East Bay · Department of Music

Undergraduate Student Handbook

B.A. in Music, with the Music Education Certificate, FAST 4+1, and Music Minor
document: undergraduate student handbook program: b.a. in music effective: fall 2026 accreditation: nasm status: current

welcome from the chair

Welcome to the world of advanced music study. While this path may offer challenges alongside its joys, the rewards are unparalleled. Music is not only entertainment. It is a transformative force capable of shaping one's understanding of life, love, and the full spectrum of human experience, both a privilege and a responsibility.

Though some of you envision careers in music education, composition, production, or performance, others may be drawn to different landscapes. Regardless of your ultimate destination, the skills honed during your musical journey will serve you well.

Consider the qualities valued by employers: critical thinking, collaboration, professionalism, communication, and leadership. Music education is a rigorous training ground for each of these attributes and more. You will dissect complex musical structures, solve interpretive dilemmas, and master the art of expressing yourself through a universal language. Ensembles and solo practice cultivate teamwork, discipline, and self-reliance. Through performances, you will hone your communication skills, both verbal and nonverbal, and learn to connect with audiences on a profound level. Leadership opportunities abound, whether through student boards or the power dynamics inherent in collaborative music-making.

The Department of Music faculty and staff extend a warm welcome to you as you embark on this enriching path. We are proud to present you with a finely crafted program accredited by the National Association of Schools of Music, a sturdy framework upon which your musical identity will take shape. Embrace the challenges, the joys, the rigorous practice sessions, and the exhilarating performances. Work diligently, and remember that we are here to guide you every step of the way.

Buddy James, Professor and Chair, CSUEB Department of Music

preface

The course requirements for the Bachelor of Arts in Music from California State University, East Bay (CSUEB) are stated in the University Catalog. This Handbook, the University Catalog, semester course schedules, course syllabi, and other important sources of information are powerful tools for your journey toward successfully completing a degree program at CSUEB. It is the student's responsibility to clearly understand all degree requirements.

Each student assumes responsibility for academic progress by keeping an up-to-date record of courses taken, understanding the applicable catalog year, and checking periodically with their music advisor. Responsibility for errors in program requirements or in interpretation of CSUEB regulations rests with the student.

land acknowledgement

We recognize that while we gather at Cal State University East Bay located in Hayward, CA, we are gathered on the ethno-historic tribal territory of the intermarried Jalquin (hal-keen) / Yrgin (eer-gen) Chochenyo-Ohlone-speaking tribal group, who were the direct ancestors of some of the lineages enrolled in the Muwekma Ohlone Tribe of the San Francisco Bay Area, and who were missionized into Missions San Francisco, Santa Clara, and San Jose.

Read the University's full land acknowledgement.

general information

facilities

Full details on all department facilities are available at the facilities page.

music office

MB 2569 · 510-885-3135 · renuka.asirvatham@csueastbay.edu
Administrative Support: Renuka Asirvatham. The office handles general inquiries, course-related questions, and administrative matters for all music students and faculty. Department website: csueastbay.edu/music. A faculty and staff directory is at csueastbay.edu/music/faculty.

music equipment office

MB 1525 (first floor, by the elevator) · 510-885-3115 · tianyuhao.nie@csueastbay.edu
Equipment Technician: Tianyuhao Nie. Responsible for the repair, maintenance, issuance, movement, setup, storage, and inventory control of musical instruments, equipment, and accessories. Full information at the equipment office page.

Instruments, lockers, and other equipment may be checked out free of cost by music students and faculty. Equipment is due the last day of finals of the semester during which it is checked out, and may be renewed if needed for the following semester. A checkout agreement form must be signed for all borrowed equipment, and the signer assumes responsibility for any damage, theft, or loss.

Lockers are available to music majors through the Equipment Office. Lockers must be renewed at the end of each semester. Unrenewed lockers will be cleared and reassigned. Contact the Equipment Office by the end of finals week to renew.

music resource center (mrc)

MB 1560 · 510-885-3167 · mrc@csueastbay.edu
Instructional Support Coordinator: Justin T. Plank. The hub for performance and study materials, room scheduling, and concert coordination. The collection includes scores, parts, LPs, CDs, videos, and DVDs. The MRC handles all concert, recital, and festival scheduling, and produces printed recital programs. Full information at the resource center page.

Students, faculty, staff, and eligible alumni may check out up to 5 scores or sets of parts at one time. Recordings may be checked out on a limited basis. Orchestra and choral library materials are restricted to faculty for use by departmental performance groups. All borrowed materials are due the last day of finals. Late fees of up to $10 per item may be assessed after 30 days overdue. Lost or damaged materials are the responsibility of the borrower.

practice rooms

Practice rooms on the first floor and select rooms on the second floor are available on a first-come, first-served basis for music majors and minors, and approved non-majors enrolled in select music courses. These rooms are unlocked from 8:30 AM to 6:00 PM, Monday through Friday. MB 2052 and MB 2524 are reserved for piano majors only.

At 6:00 PM a student assistant comes through and locks the empty rooms. If you are already practicing, you keep the room: nobody will ask you to leave.

Access outside those hours requires contacting the music equipment office with the room number and requested time, at least 36 hours in advance.

safety

For safety reasons, practice room windows must be left uncovered at all times.

computer music studios

The Department's electronic music studios provide facilities for music synthesis, electronic composition, and digital recording, editing, processing, and mixing. There are two studios. The Computer Music Lab (MB 2525) is the primary space for students working with processed and sample-based sound, and serves as the classroom for the introductory music technology courses; it holds 20 iMac workstations running Ableton Live, Logic Pro, VCV Rack, Amadeus Pro, and Finale. The Synthesis and Recording Studio (MB 2508) is the primary space for upper-division and graduate composition majors; it adds Max/MSP, a modular synthesis station built around the Department's restored Buchla 100, and a Pro Tools recording station connected to a dedicated recording room. Full equipment lists and routing diagrams are at the music studios page.

studio rules

Do not remove equipment from the studios without the Studio Director's permission. Report anything that breaks right away. Secure the studio when you leave, and keep unauthorized people out: you are responsible for what happens during your studio time. Food and drinks stay outside the studios.

studio director

MB 2012 · 510-885-3126 · ines.thiebaut@csueastbay.edu
Studio Director: Inés Thiebaut.

advising

All CSUEB Music students are assigned a music advisor through the music office who can assist with course registration, degree roadmaps, and academic success. Students are encouraged to meet with their advisor prior to scheduling classes each semester and may request meetings at any point throughout the year.

Music advisors handle questions specific to the music degree program. They are separate from GE advisors, who assist with general education requirements. GE advising for music students is handled through the College of Letters, Arts, and Social Sciences (CLASS), which has its own dedicated GE advisors.

BayAdvisor is CSUEB's online advising platform. Students can use it to find their assigned GE advisor, schedule advising appointments, view their degree progress, and access academic planning tools. Students may also visit the Advising Resource Center directly for walk-in support and additional resources. See the section on Advanced Placement in the current University Catalog for information on AP equivalencies in Music.

scholarships

The Department awards scholarships to incoming and continuing music majors, with no formal application. Incoming students are considered automatically from the audition and application materials they submit through admission, provided the audition is completed before the February deadline; continuing students are selected on the strength of their accomplishments in the Department. Several awards are tied to a particular principal medium or background. The University's Pioneer Scholarships are a separate, campus-wide source open to all students. Current awards, eligibility, and the scholarship audition sign-up are on the music scholarships page.

b.a. in music requirements

The B.A. in Music requires a total of 120 units: 54 units of music major requirements, 48 units of General Education and Graduation Requirements, and 18 units of free electives. The degree serves students with career goals in performance, composition, music technology, jazz, teaching, and graduate study. CSUEB is an accredited institutional member of the National Association of Schools of Music (NASM).

Program roadmaps for both 4-year (freshman entry) and 2-year (ADT transfer) pathways are available at the B.A. program page. Students should consult their music advisor to create an education plan tailored to their needs.

admission and applied area placement

While there are no additional admission requirements beyond university admissions, all music majors must pass an applied area placement to begin taking lessons in their primary applied area. Once in lessons, students follow the applied jury schedule. Students are encouraged to plan their placement carefully to avoid delays in graduation.

keyboard musicianship requirement

All CSUEB Music students must complete three semesters of group keyboard study (at a prior institution or at CSUEB), or complete all three levels of the Keyboard Musicianship credit-by-exam, in order to graduate. The most efficient path is to complete the Keyboard Musicianship sequence: MUS 118, MUS 119, and MUS 218.

Working on proficiency requirements independently is highly discouraged and may significantly delay graduation. Students who wish to demonstrate mastery by exam may only do so during the first two weeks of the semester while registered for the relevant Keyboard Musicianship course they wish to challenge. To schedule a credit-by-exam, contact your music advisor as early as possible.

Detailed credit-by-exam guidelines for each level, including the required scale combo packs, harmonization and transposition, sight-reading, and repertoire choices, are in the level guides below. The sequence draws on Alfred's Group Piano for Adults, Book 1, second edition (Lancaster and Renfrow).

concert attendance requirement

Music majors are required to attend ten (10) concerts each semester they are enrolled in applied lessons. Attendance at any official Music Department event counts as one (1) credit. Participation or performance in a Music Department event counts as one-half (½) credit.

Up to two (2) of the ten (10) credits each semester may come from concerts outside the Department, approved in advance. Approval is granted ahead of the event rather than afterward. Contact your advisor before you attend.

A shortfall in the fall can be made up in the spring. Spring credits count first toward credits still owed from the fall, then toward the spring requirement. A student who earns eight (8) credits in the fall needs twelve (12) in the spring: two (2) to complete the fall and ten (10) for the spring itself. A fall requirement completed in the spring stays complete, and a student who ends the year short owes only the spring credits. The Department presents around thirty (30) events each academic year.

Attendance is recorded through OneTap, on your own device. Download the OneTap visitor app for iOS or Android before your first event.

Instructions for the app are in the OneTap visitor app guide.

degree requirements at a glance (54 music units)

required lower division courses (15 units)

required upper division courses (18 units)

note

Students pursuing the Music Education Certificate may substitute MUS 335 Technology for Music Educators for MUS 381.

applied music study & performance (9 units, all in residence at CSUEB)

music electives (12 units)

Complete 12 units from the categories below. Up to 4 additional units of Applied Music Study, 4 additional units of Major Performing Ensembles, and 7 additional units of Chamber Ensembles may count toward electives.

music education
history and global music
conducting
composition / music production
entrepreneurship and research
performance

degree roadmaps

The roadmaps lay the degree out semester by semester, with course, title, and units. Choose the one that matches your entry point, and bring it to advising.

graduation checklist

Use this checklist as an ongoing reference throughout your degree. Check off each item as you complete it.

applied music study

Applied study runs across the next four sections: lessons and policies here, juries and levels in section 04, then recital performances in section 05 and ensembles in section 06.

general information

Music majors must declare a principal performance medium, departmentally approved by audition or the acceptance of a Creative Portfolio, in one of the following areas: Composition / Music Production, Flute, Oboe, Clarinet, Saxophone, Bassoon, Trumpet, French Horn, Trombone, Euphonium, Tuba, Percussion, Violin, Viola, Cello, Bass, Guitar, Piano, Voice, or Conducting.

Jazz lessons are an option for upper-division undergraduate students through audition, after the student has successfully demonstrated solid technique and the fundamentals of jazz improvisation, such as through completion of the jazz improvisation courses.

applied area auditions

All music majors in the B.A. in Music program require a successful applied area placement in order to start taking lessons in their primary area of study. Students only do this once. Once in lessons, students follow the applied jury schedule depending on their entry level.

You don't need to complete your applied area placement right away when you start the B.A. in Music (very common for first-year students, who can build up musicianship before taking lessons), but if you want to graduate in two (2) years (most transfer students), you should expect to start lessons right away.

Applied area placements can take place at any time, up until the second Tuesday of the Fall or Spring semester. The Department prefers in-person auditions and normally holds one that day; students may sign up for it or upload their materials by the same date. Scholarship audition materials will be considered applied area placements for those applicants who complete them.

performance

Piano: Two or three works of contrasting styles, at least one of which must be memorized. Pieces should be chosen from the standard Classical repertoire and last no more than ten minutes in total. 20th- and 21st-century works are welcome. Individual movements of multi-movement works (such as sonatas or suites) are acceptable.

Voice: Two contrasting selections totaling no more than ten minutes. At least one song should be in a language other than English. Art songs, arias, folk songs, and musical theater selections are preferred. Selections should be memorized and sung with accompaniment.

Percussion: Two contrasting works totaling no more than ten minutes (sections of works are acceptable in order to stay within the ten-minute timeframe). Show a contrast of instruments (for example, snare drum and marimba).

All other instruments: Two contrasting works totaling no more than ten minutes (sections of works are acceptable in order to stay within the ten-minute timeframe).

jazz performance

Drums: Demonstrate the following styles: medium-tempo swing, up-tempo 50s bebop, medium-tempo jazz waltz, bossa nova (medium), Afro-Cuban (medium to fast), funk, and hip-hop (any tempo). Bluetooth access will be provided for backing tracks.

All other instruments: Two contrasting works totaling no more than ten minutes (sections of works are acceptable in order to stay within the ten-minute timeframe). You will also be required to demonstrate improvisation skills. Bluetooth access will be provided for backing tracks.

music composition

Two original compositions (PDF scores and audio) that best represent your musical potential and creativity. They can be for any genre and instrumentation. We are looking for both scores and recordings (a MIDI export from your notation program is acceptable).

music production

Two original songs (audio only) that best represent your musical potential and creativity. Any style is welcome.

enrollment requirements

residency requirement

Undergraduate students must complete a minimum of 4 units of applied music study in residence at CSUEB to obtain a B.A. in Music. All 9 units of the applied music study and performance block (lessons, major ensemble, and chamber ensemble) must be completed in residence.

concurrency requirement

Registration in applied lessons requires concurrent enrollment in both a major performing ensemble (MUS 351–359) and a minimum of five (5) total music units for the semester. Students who drop below this threshold mid-semester should consult their advisor immediately, as it may affect their applied lesson enrollment and progress.

individual practice expectations

The Department recommends a minimum of 1½ to 2 hours of practice per day, 5 days per week, as a baseline for adequate degree progress. Some students may need more depending on skill level and background. Practice room availability and reservation procedures are listed on the Music Department website and in section 01 of this handbook.

Composition and Music Production students are expected to dedicate equivalent time to composing, producing, and working in the electronic music studios. Regular studio time in the music studios is available to composition and production majors. Contact the Studio Director (Inés Thiebaut, MB 2012) to arrange access.

applied lesson policies

Students who have successfully passed an audition or submitted a Creative Portfolio may request applied study through the music office prior to the second Tuesday of the semester. The day and time of lessons are arranged by mutual consent between instructor and student. Students should contact their applied instructor to arrange lesson times no later than the second Tuesday.

absence policy

Instructors are not obligated to reschedule lessons missed by students, except when the absence is due to a required university activity. If an instructor misses a lesson, it will be rescheduled. If a student misses a lesson due to a university activity (such as an ensemble tour) and notifies the instructor in advance, a makeup lesson will be provided. It is the student's responsibility to coordinate the scheduling of makeup lessons.

Lessons that fall on regular school holidays will be rescheduled. If a student is more than ten minutes late, the student may be considered absent. More than one unexcused absence per semester may result in a lowered applied music grade. Instructors will notify students and the music office of any instructor absences as soon as possible, and makeup lessons will be scheduled promptly.

applied leave of absence

A student who returns to applied music instruction after an absence of more than one (1) semester may be required to audition to determine an accurate current level placement.

applied lessons for non-majors

Music Minors and non-music majors who perform in a Major Performing Ensemble may be eligible for applied music study. Requests in writing (email) should come from Major Performing Ensemble leaders to the Department Chair by the end of the first week of the semester. The Department Chair, in consultation with the Applied Music Committee, will evaluate each request according to available studio space and department finances. Final decisions will be made by the second week of the semester.

change of instructor or applied area

change of applied instructor within the same applied area (studio)

Studying applied music at the university level demands a great deal of time and refinement, and this level of refinement can only occur through extended study with a single teacher. Changing applied studios is therefore discouraged. The ideal undergraduate education places a student with one teacher for their entire period of study, to benefit from a long-term relationship and the development of a common musical and technical language. Should difficulties arise where a student wishes to change applied studios, the process is as follows.

  1. The student should communicate their difficulties to their current instructor, preferably in person. Often this conversation will resolve perceived problems. If difficulties remain after this initial conversation:
  2. The student will submit an official document to the Coordinator of their applied area detailing the difficulties and outlining proposed solutions. The Coordinator will discuss this document with the private instructor.
  3. A meeting will be scheduled between the student, the Coordinator, and the private instructor to discuss the difficulties and potential solutions.
  4. The student will study with the current instructor for one more complete semester to attempt to resolve the difficulties. The Coordinator or the private instructor may waive this semester if either believes the situation is irreparable.
  5. Following juries, if the student has stopped progressing (as determined by the Coordinator) or if the difficulties have become irreparable, the Coordinator will reassign the student to a new applied studio. The student may request, but is not guaranteed, a specific teacher. All applied instructors are quality professionals in their field, and placements are made based on the needs of the student and the department.
change of applied area

Students who wish to change their primary applied area must successfully pass a formal audition or creative portfolio review in the new area of study, as outlined on the Music Department website and the audition portion of this handbook. Students who successfully change their primary applied area must adhere to department policy regarding required units, benchmarks, juries, and other requirements.

secondary applied areas

Music majors may request instruction in a second applied area. Requests are considered on a semester-by-semester basis. To qualify:

coaching

Instrumental and Vocal Coaching (MUS 281/481, MUS 282/482) are courses where a student enrolled in applied study works with a faculty coach on repertoire requiring a collaborative pianist. Coaching is not the same as applied lessons: it does not count as applied lesson units and carries its own syllabus, expectations, and attendance requirements. Coaching units do not count toward graduation requirements. Students are not required to enroll in coaching to secure an accompanist for a recital, and are free to find accompanists independently.

eligibility and priority

Eligibility is determined by available instructor workload, applied academic progress, and departmental finances. When demand exceeds availability, the following priority system is in place: senior recitalists, then junior recitalists, then noon recitalists, then ad hoc recitalists.

units

applied juries and levels

Applied study at CSUEB is organized around a progression of levels, with jury and performance requirements at each stage. This section describes how levels work, what juries are required, and how students are assessed.

two-year transfer path

Transfer students who wish to complete both a Junior and Senior Recital while graduating in two years should perform an Advancement Jury to Level 3b at the end of their first semester and schedule a Junior Recital in their second semester, with permission from their instructor and the applied committee.

year 1 year 2 year 3 year 4 none studio recital noon recital noon recital noon recital junior recital or noon recital noon recital senior recital 1a 1b 2a 2b 3a 3b 4a 4b progress jury progress jury progress jury progress jury advancement jury → 2a advancement jury → 3a junior recital jury → 4a or progress jury (noon, no advance) senior recital jury (culmination)
level progression. Each level along the track (1a, 1b, and so on) is one semester: the required performance sits above it, the jury below. Progress juries fall in any semester without an advancement or recital jury. At Level 3b the path forks: a Junior Recital and its jury advance the student to 4a, while a Noon Recital and a progress jury keep the student at level 3. Section 05 details the recital requirements.

composition / music production juries

Composition and Music Production students have a separate jury procedure from vocalists and instrumentalists. At the end of every semester, students meet with the composition faculty to review their portfolio. The work done throughout the semester, and the overall contents of the portfolio, determine retention and advancement within the program.

composition portfolio

Every undergraduate composition student builds and maintains a Creative Portfolio, kept in one organized folder with every file labeled and ordered, and submitted on Canvas at the end of each semester as a single zip file named with the student's last name, the word portfolio, and the semester. Full detail is in the composition portfolio guide.

Every work in the portfolio carries two files:

  1. A PDF master score, the full score rather than the parts. For an electronic work with no score, a PDF technical document covering setup and instrumentation, software and hardware, signal flow, patch or session structure, duration, and what a performance requires.
  2. A recording in lossless audio: WAV, AIFF, FLAC, or ALAC. A MIDI realization stands in until a performance recording exists.

The portfolio also holds a current CV, education and music focused (how to write one), and a short biography in two parts: an introduction page and an elevator pitch of a few sentences. Both are PDFs.

portfolio minimum

Two works for each semester of applied lessons taken, one more substantial than the other. Four semesters of lessons means eight works.

The more substantial works, usually five to seven minutes, are performed in the spring by the guest ensembles the area brings in to perform and record student work. The shorter works are performed in the fall, with performers the student secures, or as electronic and fixed media.

music production portfolio

Every undergraduate music production student builds and maintains a Creative Portfolio, kept in one organized folder with every file labeled and ordered, and submitted on Canvas at the end of each semester as a single zip file named with the student's last name, the word portfolio, and the semester. Full detail is in the production portfolio guide.

Every song in the portfolio carries three files:

  1. The finished master: the final stereo mixdown in lossless audio (WAV, AIFF, FLAC, or ALAC) at 48 kHz and 24-bit.
  2. The DAW project folder in the DAW's own format, with every sample and recording collected into the folder.
  3. A production note as a PDF, covering tempo, key, and duration; the instruments and plugins used; where the sounds came from and whether any sample is cleared or royalty-free; and who did what, with each person's ownership percentage on collaborative work.

The portfolio also holds a short biography as a PDF, in two parts: a paragraph introducing the student as a producer, and one or two sentences on what the music is and who it is for.

portfolio minimum

At least two finished songs for each semester of applied study taken.

public performance

Public performances of student works are expected and encouraged. Every piece in the composition portfolio must be presented and recorded in a public performance. Avenues include the student concerts held each Fall and Spring, regular student recitals, and concerts by larger department and visiting ensembles.

instrumental and vocal juries

Progress juries: A Progress Jury is performed during finals week in each semester that a student is not performing an Advancement or Recital Jury, generally at the end of the first semester of each level. Progress Juries assess whether the student is on track to meet the benchmarks required for advancement at the end of the following semester.

Advancement juries: An Advancement Jury is performed at the end of Level 1b to advance to Level 2, and at the end of Level 2b to advance to Level 3. Students in Levels 1a, 1b, or 2a may also take an Advancement Jury to Level 3a at the end of any semester. Advancement from Level 3 to Level 4 takes the form of a Junior Recital Jury.

Recital juries: Junior Recital Juries serve as the Advancement Jury at the conclusion of Level 3b. Senior Recital Juries serve as the program culmination at the conclusion of Level 4b. Recital Juries are performed approximately four (4) weeks before the recital date, before a faculty committee. The student is notified of the date and time after the recital is booked. Successful completion of the jury is required to confirm the recital date.

alternative to rescheduling

Students with a minimum of 3 Applied Study units completed at CSUEB who do not wish to reschedule may perform a progress jury at the end of the semester. Passing that jury concludes their applied music study requirements.

jury assessment and outcomes

Students are assessed on multiple benchmarks for each level, scored on a 0 to 4 scale. Proficiency for the current level is a score of 3.

0 1 2 3 4 proficiency threshold needs major support emerging developing proficient exemplary not ready for university study not yet proficient for current level proficient for current level exceeds current level
assessment scale. A jury with a majority of scores below proficiency (3) is a Fail. A Progress or Advancement Jury with a majority at or above the current-level benchmark is a Pass.

Each jury results in a pass or a fail. The outcome depends on the jury type, and on a fail it depends on the previous jury. Jury outcomes do not necessarily correspond to the academic grade for the semester.

Progress Jury a-levels: first semester of a level Pass Fail Passed previous jury Failed previous jury On track. Register for the second semester of the applied level. Not on track. The semester grade depends on the syllabus. Register for the second semester of the applied level. Two failed juries in a row: a failing grade for the semester and discontinuation from applied lessons.
progress jury (a-levels). Performed in the first semester of a level. A pass keeps the student on track for the second semester. A fail is read against the previous jury: after a pass, the student continues with the semester grade set by the syllabus; after a second fail in a row, the student receives a failing grade and is discontinued from applied lessons.
Advancement Jury b-levels: second semester of a level Pass Fail Passed previous jury Failed previous jury Level complete. Register for the first semester of the next applied level, if applicable. Not ready to advance or perform the recital. The semester grade depends on the syllabus. Repeat the applied level. Two failed juries in a row: a failing grade for the semester and discontinuation from applied lessons.
advancement jury (b-levels). Performed in the second semester of a level; at Levels 3b and 4b it takes the form of the junior or senior recital jury. A pass completes the level and opens registration for the next one. A fail is read against the previous jury: after a pass, the student repeats the level with the semester grade set by the syllabus; after a second fail in a row, the student receives a failing grade and is discontinued from applied lessons.
discontinuation

A discontinued student may not register for Applied Study in the future, but may work privately and perform another jury at the end of the next semester. Faculty may discontinue any student whose jury performance fails to demonstrate progress.

jury requirements by area

The requirements below set what is prepared and performed at each level for instrumental and vocal study, and they are the benchmarks the 0 to 4 scale scores. Technique accumulates: each level carries forward everything prepared at earlier levels and adds the new material named, and the jury hears a sample of the prepared set at its discretion. Levels 3b and 4b are the junior and senior degree recital juries, where the jury is the recital program itself. Durations given for progress and advancement juries are minimums. Composition and Music Production students follow the portfolio process above rather than these area requirements.

woodwinds and brass

level 1a progress jury

technique

repertoire

Two contrasting pieces by different composers, not previously juried. Four minutes minimum.

level 1b advancement jury to level 2

technique

repertoire

Three contrasting pieces by different composers, not previously juried. Two movements of one work may stand in for two of the three, and a third piece by a different composer is still required. Seven minutes minimum.

level 2a progress jury

technique

repertoire

Two contrasting pieces by different composers, not previously juried. Eight minutes minimum.

level 2b advancement jury to level 3

technique

repertoire

Four contrasting pieces by different composers, not previously juried. Two movements of one work may stand in for two, and at least one additional piece by a different composer is still required. Nine minutes minimum.

level 3a progress jury

technique

repertoire

Two to three substantial pieces by different composers, not previously juried, at least one from memory. Two movements of one work may stand in for two, and at least one additional piece by a different composer is still required. Ten minutes minimum.

level 3b junior degree recital jury · advancement to level 4
level 4a progress jury

technique

repertoire

Two to three substantial pieces by different composers and a variety of style periods, not previously juried, at least two from memory, drawn from the planned senior recital program if desired. Two movements of one work may stand in for two, and at least one additional piece by a different composer is still required. Twelve minutes minimum.

level 4b senior degree recital jury

percussion

level 1a progress jury

technique

repertoire

One mallet solo (for example, Whaley, Primary Handbook for Mallets), not previously juried. Four minutes minimum.

level 1b advancement jury to level 2

technique

repertoire

One snare drum study (for example, Cirone, Portraits in Rhythm, No. 3), one timpani piece (for example, Goodman, Modern Method for Timpani, No. 27), and one mallet study (for example, Whaley, Primary Handbook for Mallets, No. 21), none previously juried. Seven minutes minimum.

level 2a progress jury

technique

repertoire

One snare drum piece (for example, Cirone, Portraits in Rhythm), one timpani piece (for example, Goodman, Modern Method for Timpani, No. 27), and one mallet study (for example, Whaley, Primary Handbook for Mallets, No. 21), none previously juried. Eight minutes minimum.

level 2b advancement jury to level 3

technique

repertoire

One multiple percussion piece (for example, Bruce Smith, Five One), one beginning four-mallet study (for example, Mark Ford, Marimba: Technique Through Music), one vibraphone piece (for example, Friedman, Vibraphone Technique, No. 11), and one timpani piece (for example, Goodman, No. 72), none previously juried. Nine minutes minimum.

level 3a progress jury

technique

repertoire

One snare drum or multiple percussion piece, one four-mallet solo on marimba or vibraphone from memory, and one timpani solo (for example, Peters or Carroll), none previously juried. Ten minutes minimum.

level 3b junior degree recital jury · advancement to level 4
level 4a progress jury

technique

repertoire

Three contrasting pieces by different composers, not previously juried, at least one a four-mallet solo performed from memory, drawn from the planned senior recital program if desired. Twelve minutes minimum.

level 4b senior degree recital jury

strings and guitar

level 1a progress jury

technique

repertoire

Two contrasting pieces by different composers, not previously juried. Four minutes minimum.

level 1b advancement jury to level 2

technique

repertoire

Three contrasting pieces by different composers, not previously juried. Two movements of one work may stand in for two of the three, and a third piece by a different composer is still required. Seven minutes minimum.

level 2a progress jury

technique

repertoire

Two contrasting pieces by different composers, not previously juried. Eight minutes minimum.

level 2b advancement jury to level 3

technique

repertoire

Four contrasting pieces by different composers, not previously juried. Two movements of one work may stand in for two, and at least one additional piece by a different composer is still required. Nine minutes minimum.

level 3a progress jury

technique

repertoire

Two to three substantial pieces by different composers, not previously juried. Two movements of one work may stand in for two, and at least one additional piece by a different composer is still required. Ten minutes minimum.

level 3b junior degree recital jury · advancement to level 4
level 4a progress jury

technique

repertoire

Two to three substantial pieces by different composers and a variety of style periods, not previously juried, drawn from the planned senior recital program if desired. Two movements of one work may stand in for two, and at least one additional piece by a different composer is still required. Twelve minutes minimum.

level 4b senior degree recital jury

voice

all progress juries levels 1a, 2a, 3a, 4a
level 1b advancement jury to level 2
level 2b advancement jury to level 3
musicianship exam

A Musicianship Exam must be passed before the completion of the second semester at Level 2. It is typically administered at the end of the first semester at Level 2.

level 3b junior degree recital jury · advancement to level 4
level 4b senior degree recital jury

piano

all progress juries levels 1a, 2a, 3a, 4a
level 1b advancement jury to level 2
level 2b advancement jury to level 3
level 3b junior degree recital jury · advancement to level 4
level 4b senior degree recital jury

jazz melodic instruments

The saxophones, trumpets, trombones, and the other wind, brass, and string instruments played in jazz. Jazz uses its own scale language, and the prepared scale set grows by level; the jury asks for two from it. A transcribed solo and tunes played melody-and-improvisation make up the repertoire, building to the junior and senior recitals.

level 1a progress jury

technique

repertoire

level 1b advancement jury to level 2

technique

repertoire

level 2a progress jury

technique

repertoire

level 2b advancement jury to level 3

technique

repertoire

level 3a progress jury

technique

repertoire

level 3b junior degree recital jury · advancement to level 4
level 4a progress jury

technique

repertoire

level 4b senior degree recital jury

jazz rhythm section

Guitar, bass, and piano. Rhythm-section players prepare the same scale ladder and tune requirements as the melodic instruments, and in addition comp the changes (guitar and piano) or walk a chorus (bass) on the jury's tunes. The prepared scale set grows by level; the jury asks for two from it.

level 1a progress jury

technique

repertoire

level 1b advancement jury to level 2

technique

repertoire

level 2a progress jury

technique

repertoire

level 2b advancement jury to level 3

technique

repertoire

level 3a progress jury

technique

repertoire

level 3b junior degree recital jury · advancement to level 4
level 4a progress jury

technique

repertoire

level 4b senior degree recital jury

jazz drums

The drum set. In place of the instrumental scale requirement, drummers prepare a keyboard requirement: on piano, demonstrate major and minor scales and basic chords and play a jazz tune. On the kit they play the head, solo over the form, trade fours, and cover the required styles and tempos. The tune requirements grow by level the same way the other jazz areas do.

all progress juries levels 1a, 2a, 3a, 4a
level 1b advancement jury to level 2
level 2b advancement jury to level 3
level 3b junior degree recital jury · advancement to level 4
level 4b senior degree recital jury

recital performances

All students registered for applied music study are expected to fulfill recital performance requirements each academic year. Instrumentalists and vocalists follow the level-based recital schedule below. Composition and Music Production students fulfill public performance requirements through their jury and portfolio process (see section 04). Failure to follow these guidelines results in a failing grade for Applied Music study for the semester in which the performance was scheduled, and the process must begin again.

types of recitals

Studio Recital: scheduled by the applied instructor and including other students from the same studio.

Noon Recital: a performance on the Tuesday/Thursday University Hour Noon Recital series, scheduled by the student. Requires instructor approval.

Junior and Senior Recitals: scheduled by the student in coordination with their applied instructor, serving as public verification of Level 3 (Junior) or Level 4 (Senior) competency. See below.

Ad Hoc Recital: a recital that does not qualify as any of the above, open to all students with approval from the MRC. Ad Hoc recitals do not count toward the recital requirement, including recitals scheduled as part of courses outside the student's applied music course.

recital performance requirements by level

applied levelrequired performance
Level 1aNone
Level 1bStudio Recital
Level 2aNoon Recital
Level 2bNoon Recital
Level 3aNoon Recital
Level 3bNoon Recital or Junior Recital*
Level 4aNoon Recital
Level 4bSenior Recital

* Students who successfully perform a Junior Recital at Level 3b may continue to Level 4a. Students who opt to perform a Noon Recital instead will not continue to Level 4a.

junior recital

A Junior Recital must take place prior to the successful conclusion of 2 semesters of applied music study at Level 3 and should include a minimum of 25 minutes of music on the student's major instrument. These requirements must be met to progress to Level 4. Repertoire is chosen in consultation with the applied instructor.

senior recital

A Senior Recital must take place prior to the successful conclusion of 2 semesters of applied music study at Level 4 and should include a minimum of 30 and a maximum of 45 minutes of music on the student's major instrument. No recital should exceed 50 minutes including an intermission. Repertoire is chosen in consultation with the applied instructor.

recital scheduling

The Music Resource Center (MRC) coordinates the scheduling of all department concerts, recitals, and festivals, including all faculty and student recitals and major performance group concerts. Any student wishing to schedule a degree or ad hoc recital, or to perform on a University Hour recital, should contact the MRC to book a performance date after securing approval from their applied instructor. Recital dates should be scheduled several weeks in advance to ensure availability.

recital accompanists and collaborators

It is the student's responsibility to secure a pianist when required for juries, recitals, and other performances. Pianists are required for all voice student juries and recitals, and for the Advancement Juries and recitals of instrumental students when a selection requires accompaniment. Students are strongly encouraged to enroll in Instrumental Coaching or Vocal Coaching (MUS 281/481, MUS 282/482) to meet accompanying needs.

The Department will supply a pianist for voice student juries and lower-division Advancement Juries for instrumental students not enrolled in coaching. Students must request a pianist at least 30 days in advance by providing the jury date, time, location, and a legible PDF of the music to the MRC. Department-supplied pianists will have one 15-minute practice session with the student on the day of the jury. Requests within 30 days may not be honored. Accompaniments by piano majors must be approved by the Piano Area Coordinator.

performance attire and etiquette

Juries and recitals are formal performances. Unless your instructor specifies otherwise, dress in concert black: professional, all-black clothing comfortable enough to play or sing in, with quiet, closed-toe shoes. Some areas (composition, jazz) set their own conventions, so confirm expectations with your applied instructor before the performance.

major performing ensembles and chamber ensembles

Undergraduate students enrolled in applied study must also be enrolled in at least one Major Performing Ensemble in which they perform on their principal instrument. Students are encouraged to also participate in Chamber Ensembles. Ensemble offerings and meeting times vary by semester; current information is available at the ensembles page. Auditions and placement take place during the first ensemble meeting of each semester. Students should register for the course and attend the first class. Contact ensemble directors with any questions.

major performing ensembles

East Bay Singers (MUS 351B): the primary ensemble for all voice students. Comprised of 32 voices of both music majors and non-majors, the East Bay Singers perform regularly on campus, in the community, and on annual tours. Repertoire spans 600 years of choral music from around the world.

East Bay Jazz Orchestra (MUS 355): the primary ensemble for all students studying Jazz Applied. The flagship big band, with an extensive touring history in Europe and Brazil, focused on representing the oral and aural traditions of jazz alongside contemporary and cutting-edge works. Students studying jazz guitar, jazz bass, jazz piano, or jazz percussion may substitute the Jazz Combo (MUS 368) if unable to earn a spot in the Jazz Orchestra at auditions.

East Bay Wind Symphony (MUS 353): the primary ensemble for all Wind, Brass, and Percussion students. A flagship large ensemble of majors and non-majors, recognized for innovative programming and superb musicianship. The Wind Symphony performs on campus, throughout the East Bay, and on tours across California and surrounding states.

Guitar, piano, organ, and composition/music production majors may elect any Major Performing Ensemble that is practical for them, in consultation with ensemble directors. Music Education students are strongly encouraged to participate in as many ensembles as possible during their time at CSUEB.

chamber ensembles

The following chamber ensembles are open to music majors and non-majors and count toward the chamber ensemble requirement (MUS 360–369). Placement is by audition at the first class meeting.

Rock Band (MUS 360): open to singers, guitarists, bassists, keyboardists, and drummers/percussionists. Covers performance, stage presence, sound gear, and rock composition across many genres.

Chamber Ensemble (MUS 361): focused on repertoire for small combinations of instruments. Students develop musical communication and interpretative skills through works from a variety of periods and styles.

Percussion Ensemble (MUS 363): a chamber experience for percussionists and students with some percussion background. Covers traditional and contemporary percussion literature with one on-campus performance per semester.

Chamber Orchestra (MUS 365): open to strings (violin, viola, cello, bass). Performs diverse repertoire including classical, film, video game, pop, and rock, with opportunities to collaborate with guest artists and participate in special projects.

Electronic Music Ensemble (MUS 366): comprised of undergraduate and graduate students who expand the boundaries of composition and performance through analog and digital technologies, everyday objects, live electronics, fixed media, and performance-installation.

Piano Ensemble (MUS 367): intensive study of piano duet and piano duo repertoire across diverse styles. Students rehearse weekly with partners, receive coaching, and present a public recital at the end of the semester. Satisfies the upper-division chamber ensemble requirement and may be repeated.

Jazz Combo (MUS 368): small group jazz performance emphasizing improvisation, interaction, and personal voice. Includes jazz standards and contemporary pieces, with opportunities to arrange, compose, and perform in workshops with guest artists.

Vocal Repertory Ensemble (MUS 369A): chamber ensemble focusing on Art Song and repertoire for solo voice and small and large vocal combinations, with emphasis on peer review and collaborative assessment of performance practice.

East Bay Jazz Singers (MUS 369C): a 12-voice ensemble chosen by vocal audition, specializing in vocal jazz and a cappella arrangements. Performs on and off campus, on tours, and in festivals, often alongside jazz combos, the Jazz Orchestra, or guest artists.

Chamber Singers (MUS 369B): small vocal ensemble performing diverse choral repertoire from Renaissance polyphony to contemporary compositions, with emphasis on vocal blend, intonation, and expressive singing.

A Cappella Ensemble (MUS 369D): small vocal ensemble performing music from classical, jazz, pop, and world music genres without instrumental accompaniment. Develops aural skills, rhythmic precision, and stylistic versatility.

music education

The Music Education program at California State University, East Bay is designed to prepare students to become successful, career-ready music teachers. Coursework in music education can count toward our B.A. in Music and provides a direct pathway to the California Single Subject Teaching Credential. Students gain hands-on experience through coursework in conducting, instructional techniques, world music, and technology, as well as completing observation and teaching hours in Bay Area classrooms. The result is a strong foundation for those seeking to teach music and lead programs in California's schools.

Completion of our Single Subject Matter Preparation Certificate Program in Music (catalog information) streamlines students into the California Single Subject Teaching Credential in Music (catalog information), authorizing instruction in any area of music from kindergarten through high school.

Our graduates teach throughout California and beyond as band, orchestra, and choir directors, elementary general music teachers, and instructors of music theory, composition, technology, and classroom guitar or piano. Many also continue to perform, compose, and maintain private teaching studios alongside their school positions.

how to obtain the certificate

The Music Department's Music Education Certificate may currently be obtained in three ways:

  1. While pursuing a Bachelor of Arts (B.A.) in Music at CSUEB. Students must be admitted into the B.A. in Music degree to start the certificate, and follow the B.A. in Music application requirements.
  2. While pursuing a Master of Arts (M.A.) in Music at CSUEB. Students must be admitted into the M.A. in Music degree to start the certificate, and follow the M.A. in Music application requirements.
  3. As a stand-alone graduate-level certificate, for applicants already in possession of a bachelor's degree. These applicants apply directly through CSUApply.

certificate unit outline (31 units)

The certificate roadmap shows which semester each course runs in across the two-year rotation.

music education core courses (10 units)

conducting (6 units)

secondary techniques (6 units)

music teaching and learning (9 units)

fast 4+1 b.a./m.a. program

FAST (Falcon Accelerated Success Track) is an accelerated pathway that lets dedicated music students earn both the B.A. and the M.A. in Music in five years. Students in the FAST B.A. Music + M.A. Music track (effective Fall 2026) complete the requirements for both degrees and may double-count up to 11 M.A. units toward both, completed in residence at East Bay. Building on the undergraduate program, the track pairs rigorous academic training with advanced study in music theory, history, performance, composition, and contemporary issues including social justice and ecological sustainability. Students declare an area of emphasis (Performance in Classical or Jazz, Choral Conducting, or Composition) and engage in specialized coursework, applied lessons, ensemble participation, and collaborative projects.

eligibility and admission

Students may be admitted for either the Fall or the Spring term.

application process

Students apply to the blended program by January 15th of their junior year (between semesters 5 and 6). The application includes:

  1. Statement of Purpose. A one- to two-page document outlining the student's objectives for pursuing the blended B.A./M.A. program, discussing academic and musical goals, and explaining how the program aligns with long-term aspirations.
  2. Faculty Recommendations. Two letters of recommendation from Music Department faculty who can assess the student's readiness for graduate-level study based on academic performance and musical abilities.
  3. Evidence of Abilities, depending on area of emphasis:
    • Performance (Classical/Jazz): an audition or submission of recordings demonstrating proficiency in the chosen instrument or vocal performance.
    • Choral Conducting: a demonstration of conducting skills, such as a video recording of a rehearsal or performance.
    • Composition: submission of original compositions or a portfolio showcasing compositional skill.

For program questions, contact the Music Department Graduate Coordinator, Inés Thiebaut, at ines.thiebaut@csueastbay.edu.

degree roadmap and double-counted courses

The FAST 4+1 roadmap lays out the courses to take each semester across the undergraduate and graduate career to earn both degrees, and marks the courses that count toward both.

Students entering at junior standing follow the FAST 2+1 transfer roadmap, which covers the upper-division B.A. and the M.A. across three years and marks the courses that count toward both.

Double-counted courses count toward both the bachelor's and master's requirements, up to 11 units total:

The latter 7 units (MUS 601, 603, and 661–668) replace undergraduate music electives.

music minor

A music minor is a great option for a student who is passionate about music but chooses to major in another field. The program aims to broaden and deepen students' understanding of the art of music and offers a good deal of flexibility. The Music Minor consists of 21 units, split into three categories: fundamentals (6 units), performance skills (3 units), and music electives (12 units).

how to declare

Contact the music office before beginning the process of declaring the Music Minor (MB 2569, 510-885-3135, music@csueastbay.edu). Undergraduate students who wish to add the Music Minor should use the Change of Major, Minor, or Concentration form available on the MyCompass forms website. The form is routed electronically to the appropriate department for approval and then to the Registrar's Office for processing. Students can view the status of their submission by selecting the Submitted Forms tab on the MyCompass forms website.

minor requirements (21 units)

Music Fundamentals (6 units). This sequence covers basic fundamentals of music reading, writing, and singing, along with knowledge of chord construction and basic music progressions. Students with basic prior knowledge of music may substitute these units for other pre-approved lower-division music units after a successful assessment from the Music Department.

Performance Skills (3 units). Placement is determined by the Music Department based on the student's skills and needs. Students may substitute no more than 1 applied unit (private lessons on an instrument or voice) with department permission. Students may substitute at most 2 performance skills units with units taken in a major performing ensemble and/or chamber ensemble.

Music Electives (12 units). Take 12 units of music electives in consultation with a departmental advisor, at least 3 of which must be in a performance ensemble. Students may substitute at most 2 elective units with applied units (private lessons on an instrument, voice, or composition/music production) with department permission. All students taking applied lessons are required to be registered for at least 5 music units, 1 of which must be a major performing ensemble.

academic policies

academic integrity

As a member of the academic community, you are expected to act with integrity and to avoid plagiarism, unauthorized collaboration, and other forms of cheating. By enrolling, you agree to uphold the University's standards of academic integrity. In music study this also means presenting your own work at juries and recitals, properly crediting arrangements, editions, and sources, and disclosing any use of generative AI in courses that permit it. The full policy is at csueastbay.edu/aps/academic-services/academic-policies/academic-dishonesty.html.

grades and academic standing

Music majors and music minors must earn a grade of C– or better in a course for it to count toward major or minor requirements. Applied study and ensemble grades are set as described in the relevant syllabus, and for applied study they follow from the jury outcome (see section 04).

The University requires a minimum 2.0 cumulative GPA for good academic standing. A GPA below 2.0 places a student on academic probation and, if it is not resolved, can lead to disqualification. Grade symbols such as Incomplete (I) and Withdrawal (W), and the rules that govern them, are defined in the University Catalog. Check your standing and your options with your music advisor and the Registrar's Office.

accommodations

For disability and other learning-related needs and accommodations, including assistance during an emergency evacuation, communicate with your instructor as early as possible. Students with disabilities are also encouraged to contact Accessibility Services at csueastbay.edu/accessibility to meet with a counselor about their options, including rights under Section 504 of the Rehabilitation Act and the Americans with Disabilities Act. Accommodations apply to lessons, juries, and recitals as much as to classroom courses. Arrange any performance-related accommodation with your instructor and the MRC in advance.

appeals and grievances

A student who wishes to contest a course grade should first discuss it with the instructor. If the matter is unresolved, grade appeals and academic grievances follow the University process: Grade Appeal and Academic Grievance.

To contest a jury or recital outcome, submit a written request to the Department Chair within ten (10) business days of being notified, stating the grounds for the appeal. The Chair will convene available applied faculty to review the recording and the relevant materials, and will respond in writing. Where a jury or recital outcome determines a course grade, it may afterward be carried through the University grade-appeal process above.

health, safety, and student support

The CSU East Bay Department of Music, as required by the National Association of Schools of Music (NASM), is obligated to inform students, faculty, and staff of the health and safety issues, hazards, and procedures inherent in music practice, performance, teaching, and listening, both in general and as applicable to their specific specializations. This includes basic information regarding the maintenance of hearing, vocal, and musculoskeletal health and injury prevention. It also includes instruction on the use, proper handling, and operation of potentially dangerous materials, equipment, and technology as applicable to specific program offerings or experiences.

Although the music department gives the highest priority to health and safety throughout its policies, protocols, and operations, the primary factor in your health and safety is you, and depends largely on your personal decisions. You are personally responsible for avoiding risk and preventing injuries to yourself before, during, and after studying at CSU East Bay Department of Music. The policies and procedures developed and followed by the Department do not alter or cancel any individual's personal responsibility, or in any way shift personal responsibility for the results of any individual's personal decisions or actions to the university.

Please refer to the Health and Safety page on the Department's website for a list of resources on hearing, vocal, and musculoskeletal health, as well as numerous other resources related to the study of music.

nondiscrimination and title ix

Title IX and CSU policy prohibit discrimination, harassment, and retaliation, including sex discrimination, sexual harassment, and sexual violence. For confidential support, contact the Confidential Advocate at 510-885-3700 or the Student Health and Counseling Center. For 24-hour crisis services, call the BAWAR hotline at 510-800-4247. More information is at csueastbay.edu/titleix and csueastbay.edu/riskmanagement/complaint.html.

student conduct

The University is committed to maintaining a safe and healthy living and learning environment. Expectations for student conduct, and the process that follows when they are not met, are at csueastbay.edu/studentconduct.

emergency information

Guidance for emergencies (earthquake, electrical outage, fire, extreme heat, severe storm, hazardous materials) is at csueastbay.edu/riskmanagement. Review it at the start of each semester, and note the exits nearest the practice rooms, studios, and recital spaces.

student support services

Cal State East Bay's student services are reachable through MyCompass, the one-stop hub for academic advising, tutoring, financial aid, the library, the Student Health and Counseling Center, technology support, career counseling, basic-needs and food-pantry resources, and campus life.