# MUSA 127 & 128 – 1001: Applied Lessons — Percussion I & II UNIVERSITY OF NEVADA LAS VEGAS School of Music / Percussion Area Fall 2026 | | | | ------------------- | --------------------------------- | | **Time** | Fr 11:30AM - 12:45PM | | **Class Location** | HFA 235 | | **Office Location** | HFA 208 | | **Office Hours** | by appointment | | **Phone:** | n/a | | **WebCampus** | https://www.it.unlv.edu/webcampus | **Instructors:** - Dr. Kyle Bissantz — [email protected] - Dr. Alex Stopa — [email protected] - Dr. Ryan Bond — [email protected] - Dr. Dean Gronemeier — [email protected] **_Note:_** The instructor reserves the right to change the syllabus as it relates to how the course is administered. ## Course Description A weekly, one-hour lesson with your assigned percussion faculty instructor designed to enhance your overall musicianship. This is the Applied Lessons course for all first-year percussionists Majoring (or Minoring) in music at UNLV. MUSA 127 and 128 represent first and second semesters of study respectively and are considered one cohesive course of study. ## Course Prerequisite(s) Successful audition before the Percussion Coordinator for permission to engage in Applied Study. ## Course Rationale To prepare well-rounded, conscientious "thinking" percussionists who demonstrate excellence in performance, pedagogy, and professionalism through exposure to history, literature, culture, and awareness practices unique to the percussion discipline. Students will gain insight into various techniques and philosophies through a wealth of repertoire from a diverse selection of composers to inspire overall personal and musical growth. Students come from vastly different secondary education programs and are not judged on their knowledge or skills upon beginning study at UNLV. Thus, first-year students' primary objective is growth. ## Program Competencies Perform in one primary performance medium, at a level appropriate for the area of specialization, with sufficient technical and musical skills requisite for artistic self-expression. Demonstrate broad working knowledge of the solo repertoire for their primary performance medium, at a level appropriate for the area of specialization, and display essential skills to interpret a range of styles within that repertoire. *Drawn from the [[4.1.1 BM Competencies]]* ## Course Competencies To meet course requirements, students are expected (at minimum) to show proficiency and/or growth in the following areas: **Basic Musicianship** - Sight reading - Scales - Rhythmic accuracy **Conceptual / Analytical** - Understand historical and cultural importance of their repertoire - Articulate the pedagogical concepts relative to what is being performed - Demonstrate problem-solving skills with regard to technique and musicality **Instrumental and Performance** - Snare drum (solo, orchestral, marching, drum-set) - Keyboard percussion (marimba, xylophone, vibes, glockenspiel) - Timpani (solo, orchestral, percussion ensemble) - Multiple percussion - Auxiliary percussion (bass drum, cymbals, tambourine, triangle, etc.) - World percussion (congas, bongos, djembe, handheld instruments, etc.) - Performance in a variety of large and small ensemble situations ## Learning Outcomes/Course Objectives - Broad understanding of tone quality across snare, timpani, and marimba - Broad understanding of the physiology of a healthy and musical stroke for all playing surfaces - A sense of urgency for the development of high-level sight-reading and ear training - A recognition of expression, musicality, and phraseology through consistent listening and score study ## Required Text There are multiple method and pedagogy texts that will be required by all percussion students at various points during their time at UNLV. While a large amount of material is now available (often illegally shared) in PDF form, it is imperative that students purchase the various texts they will use throughout their time at UNLV. This is both a matter of copyright and ethics that should not be ignored. **Required by week one (1) of the first semester of study for all undergraduate and graduate students:** - *Teaching Percussion*, 3rd Edition (or newer), Gary D. Cook - *The Percussionist's Guide to Injury Treatment and Prevention*, Darin Workman - A dedicated notebook for practice, repertoire class, and other notes (this will be checked in lessons) **Other literature required later at your instructor's discretion:** - *Portraits in Rhythm*, Anthony Cirone - *Four-Mallet Marimba Playing*, Nancy Zeltsman - *Exercises, Solos and Etudes for the Timpani*, Raynor Carroll ## Evaluation Methods While there is no fixed grading policy for this course, there are areas of evaluation that determine your earned letter grade at the conclusion of the semester. The following items are considered when determining your final grade: - Lesson preparedness and engagement (see Areas of Assessment) - Attendance and punctuality at lessons and Repertoire Class - Additional attendance and punctuality - Performance in two (2) Repertoire Classes - Final Jury performance during Finals Week - Overall contribution and behavior as a team member among your percussion peers ### Lessons Preparedness and Engagement Music is a highly physical and emotional activity, thus some days a student's musical output may fall well short of their potential. However, it is expected that students arrive to their lesson on time, prepared, and receptive to information. Flawless execution and perfection are not the objectives of lessons. Preparation and engagement will result in growth and reflect accordingly in your final grade. ## Attendance Policy ### Lessons Attending your scheduled lessons is not optional under any circumstance except for emergencies. You must receive 16 lessons total for the semester. Failure to communicate possible absences will result in a lowered or failing grade. Most absences due to illness or other life events or complications are often fully excused with reasonable advanced notification. Please ensure you communicate impending punctuality or absence issues as early as it is safe to do so. **Lessons Absence/Make-up Policy** - An absence communicated at least 24 hours in advance must be rescheduled within the next two (2) days of the missed lesson time for full credit. - Failure to reschedule promptly will result in a zero (0) regardless of when rescheduled, and it must be rescheduled. - An absence with no communication will receive a zero (0) regardless of when rescheduled, and it must be rescheduled. A "no-call, no-show" is unacceptable at the collegiate level. Period. ### Repertoire Class All music students at UNLV are expected to attend a weekly Repertoire Class where their peers within their division convene to perform for and critique one another. This weekly class meeting is the "officially scheduled" class time listed in MyUNLV and is mandatory. Repertoire Class occurs every Friday at 11:30 a.m. in HFA 235. ### Additional Attendance & Participation Students are expected to attend all percussion-related events as a component of their Applied Lessons grade. As percussionists, our duties extend far beyond a weekly, 1-hour lesson. Therefore, students should expect to attend and participate in various activities that fall beyond the weekly lesson. Such activities include but are not limited to: - Gear moves - Fellow percussionists' recitals - Guest artist masterclasses - Grad student and/or faculty-led masterclasses - Extracurricular rehearsals (as necessary) - Percussion Complex cleanup/organization sessions **Non-lesson Absences / Class Conflicts** Some events like gear moves may conflict with your scheduled classes. In these instances, absences must be communicated immediately and clearly. Students must notify both the individual leading the event and the Coordinator. Please *always* communicate possible absences or punctuality matters when it's safe to do so. Never communicate absences through another student or via Facebook, Instagram, or other social media messaging. ## Grading Policy There is no fixed numeric grading scale for this course. The following is a general, qualitative representation of letter grades relative to the six evaluation areas listed under Evaluation Methods: | Grade range | Descriptor | Standard | |---|---|---| | A- to A | Proficient | Consistently demonstrates/achieves | | B to B+ | Sufficient | Frequently demonstrates/achieves | | C to B- | Sufficient | Sometimes demonstrates/achieves | | D- to C- | Insufficient | Rarely demonstrates/achieves | | F | Deficient | Never demonstrates/achieves | ## Equipment Needs Your implements are a reflection of you and the musical identity you aim to create. A percussionist must (eventually) amass a significant collection of sticks and mallets in preparation for any musical situation. While graduate students will arrive with their own array of equipment, first-semester percussionists must have the bare minimum to be successful in their early studies. The following is a rough guideline for first and second semesters of study. *Ask your faculty and peers for brand and model recommendations, as price and availability fluctuate regularly. ### First Semester (MUSA 127) - General concert snare drum sticks - Three (3) pairs of rubber-core, yarn marimba mallets (one pair each: medium soft, medium, medium hard) - Two (2) pairs of standard timpani mallets (one pair each: medium, staccato) - One (1) pair of drum set sticks (wood tip) ### Second Semester (MUSA 128) - One (1) pair of ultra-staccato timpani mallets - Two (2) pairs of medium vibraphone mallets (rattan handle, cord or hybrid yarn-cord) - One (1) pair of hard nylon xylophone/bell mallets - One (1) pair of swizzle sticks - One (1) hi-hat clutch # Course Agenda/Schedule > [NEEDS INPUT — source contains no weekly schedule. Applied lessons are individually scheduled (16 lessons/semester). The only fixed recurring item is Repertoire Class, Fridays 11:30 a.m., HFA 235. Decide whether to (a) delete this section for applied lessons, or (b) populate a benchmark calendar — e.g., Repertoire Class performances ×2, Final Jury during Finals Week.] | **Module/Week #** | **Activity** | **Due/Benchmark Dates** | |---|---|---| | — | Repertoire Class (recurring) | Fridays, 11:30 a.m., HFA 235 | | — | Repertoire Class performances (×2) | TBD | | — | Final Jury | Finals Week |