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MANUAL

FOR

DOCTORAL STUDIES IN MUSIC

School of Church Music

Southwestern Baptist Theological

Seminary

May 2014

TABLE OF CONTENTS

INTRODUCTION............................................................................................1GRADUATE PROFESSIONAL STUDY............................................................1DEGREE PROGRAMS....................................................................................2ADMISSION REQUIREMENTS AND PROCEDURES.....................................2

Prerequisites...............................................................................................2Application..................................................................................................2GRE.............................................................................................................2English Requirements.................................................................................2Interview.....................................................................................................3Ph.D. Evidence of Scholarship....................................................................3D.M.A. Auditions.........................................................................................3

Organ and Piano......................................................................................3Voice........................................................................................................3Conducting..............................................................................................3Composition.............................................................................................3

Admittance to and Continuation in the Program........................................3Special Student Status................................................................................4

ACADEMIC AND ENROLLMENT POLICIES..................................................4Continued Enrollment.................................................................................4GPA.............................................................................................................4Time Limit...................................................................................................4Withdrawal.................................................................................................4

HEALTH AND SAFETY CONCERNS FOR MUSICIANS.................................4Introduction................................................................................................4Hearing Loss...............................................................................................5Physical Strain and Injury...........................................................................5Resources...................................................................................................5

ORIENTATION AND REGISTRATION............................................................5Auditions and Placement Examinations......................................................5

Southwestern M.M. Graduates................................................................5Advising and Registration...........................................................................5

DOCTORAL PREREQUISITES........................................................................6Southwestern M.M. Graduates...................................................................6Non-Southwestern Graduates.....................................................................6

Church Music Prerequisites....................................................................6Concentration Prerequisites....................................................................6

Procedures..................................................................................................6DOCTORAL COURSE REQUIREMENTS........................................................7

Transfer Credits..........................................................................................7LANGUAGE COMPETENCIES.......................................................................8

German Reading Competency....................................................................8Second Foreign Language Reading Competency.......................................8

RESIDENCY REQUIREMENTS......................................................................9REVIEW OF PROGRESS................................................................................9

Periodic Review..........................................................................................9Voice Review.............................................................................................10

DEGREE PROPOSAL....................................................................................10Contents....................................................................................................10

Leveling Work (if required)...................................................................10Doctoral Prerequisites (if required).......................................................10Transfer Credit (if applicable)...............................................................10Doctoral Course Work...........................................................................10Chronology.............................................................................................10Requests................................................................................................11

Format and Sample...................................................................................11Approval....................................................................................................11

SAMPLE APPROVAL PAGE FOR DEGREE PROPOSAL................................12FORMAT OF THE DOCTORAL DEGREE PROPOSAL...................................13SAMPLE DOCTORAL DEGREE PROPOSAL.................................................14QUALIFYING EXAMINATIONS....................................................................18

D.M.A. Written Qualifying Examinations..................................................18Ph.D. Written Qualifying Examinations....................................................18Evaluation of Written Examinations..........................................................18Oral Qualifying Examination.....................................................................19Evaluation of Oral Examination................................................................19

RECITAL PROGRAMS..................................................................................19DISSERTATION OR DOCUMENT................................................................19

Organ, Piano Performance, and Voice Performance Guidelines...............19Piano Pedagogy and Voice Pedagogy Guidelines......................................20Conducting Guidelines for Recitals and Document...................................20Composition Guidelines............................................................................21Music Ministry, Music Theory, and Musicology Guidelines......................21Content.....................................................................................................22Procedure.................................................................................................22

PROSPECTUS GUIDELINES........................................................................22SAMPLE TITLE PAGE FOR PROSPECTUS..................................................24

PREPARATION OF DISSERTATION OR DOCUMENT.................................25MECHANICS OF DISSERTATIONS AND DOCUMENTS.............................26

Scholarly Documentation and Literary Style............................................26Musical Notation.......................................................................................26School of Church Music Statement on Plagiarism....................................26Copyright..................................................................................................27Length.......................................................................................................27Order of Materials....................................................................................27Spelling and Titles....................................................................................27Font...........................................................................................................27Italics and Underlining.............................................................................27Spacing of Text.........................................................................................27Margins.....................................................................................................27

Composition Dissertations.....................................................................27Footnotes..................................................................................................28Illustrative Material..................................................................................28Diacriticals................................................................................................29Flat, Sharp, and Natural Signs.................................................................29Hymn-tune Names....................................................................................29Hymn Texts...............................................................................................29

Placement..............................................................................................29Nomenclature........................................................................................29Punctuation............................................................................................29Capitalization.........................................................................................29Format...................................................................................................29

SAMPLE TITLE PAGE FOR DOCTORAL ABSTRACT....................................33SAMPLE TITLE PAGE FOR DOCTORAL DISSERTATION............................34SAMPLE PRELIMINARY APPROVAL PAGE FOR DISSERTATION OR DOCUMENT.................................................................................................35SAMPLE SIGNATURE PAGE FOR DOCTORAL DISSERTATION.................36INITIAL SUBMISSION OF DISSERTATION OR DOCUMENT.....................37FINAL ORAL EXAMINATION.......................................................................37FINAL SUBMISSION OF DISSERTATION OR DOCUMENT........................37

Abstract....................................................................................................37Paper........................................................................................................38Signatures.................................................................................................38Delivery.....................................................................................................38

GRADUATION..............................................................................................38

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MANUAL FORDOCTORAL STUDIES IN MUSIC

INTRODUCTION

In this manual, the doctoral student will find the answers to the most frequently asked questions about the Doctor of Philosophy in Church Music and Doctor of Musical Arts in Church Music degree programs. Generally, the survey of procedures is chronological, beginning with admission and orientation and ending with qualifying examinations, the dissertation or document, and the final examination.

The seminary Catalog is the final written authority on academic matters. However, certain policies and procedures established by the faculty are not contained in the Catalog, and thus this manual serves as a supplement to it. Students will follow the requirements of the current Catalog at the time of their full admission into the doctoral program; they may choose to follow a new Catalog if they so desire. Students should consult the latest version of this manual online, however, for matters of procedure that may have been modified.

The individual student is expected to become familiar with degree requirements and the contents of this manual as well as the general academic regulations contained in the Catalog. Consult these documents first whenever in doubt about doctoral policies and procedures. For additional information and advice, please consult the chair of your department or the Associate Dean of the Academic Division.

GRADUATE PROFESSIONAL STUDY

Students in the doctoral degree programs in the School of Church Music at Southwestern Seminary are preparing for special ministry in church music. Their commitment to that ministry lends a distinctive purposefulness to all of their activities in preparation for service.

While this manual deals with mechanical and procedural matters, it should be emphasized from the very beginning that certain attitudes and qualities should characterize the mature graduate student, including integrity, responsibility, attention to detail, self-discipline, independence, punctuality, initiative, originality, creativity, and ingenuity.

The doctoral student should possess a framework of general knowledge into which new and specific information can be assimilated. Master’s-level work should have cultivated a comprehensive approach to music, enabling the

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interpretation of meanings and relationships and the making of valid judgments. Use of resource materials and research techniques should already be mastered. The technical terms of the discipline of music should be thoroughly understood and used with ease and precision. Intelligence in listening, perception in observation, analytical and incisive thinking, and effective oral and written communication are essential. Finally, a genuine enthusiasm and enjoyment ought to characterize much of the doctoral student’s professional pursuits.

DEGREE PROGRAMS

The School of Church Music offers two doctoral degrees: the Doctor of Philosophy in Church Music and the Doctor of Musical Arts in Church Music. The Ph.D. degree emphasizes creative scholarship; the D.M.A. degree emphasizes performance at the highest level. Concentrations on the Ph.D. are music ministry, music theory, and musicology. Concentrations on the D.M.A. are composition, conducting, organ performance, piano pedagogy, piano performance, voice pedagogy, and voice performance.

ADMISSION REQUIREMENTS AND PROCEDURES

PrerequisitesA prerequisite for either doctoral degree is a master’s degree from an accredited college, university, or seminary whose requirements approximate those of the Master of Music degree at Southwestern Seminary, and a minimum grade point average of 3.30.

Doctoral applicants in conducting and music ministry are encouraged to have had practical or professional experience in their field after master’s-level work and before formally beginning the doctoral degree.

ApplicationProspective doctoral students who have never attended Southwestern Seminary or who have not been enrolled in at least three years will submit a general seminary application to the Office of Admissions. In addition, students pursuing a doctoral degree will submit a doctoral application through the office of the Associate Dean, Academic Division.

For entrance in a fall semester the application should ideally be received by April 1 and for entrance in a spring semester by November 1. All required supporting documents (e.g., test scores, letters of recommendation), which will be reviewed by the Advanced Studies Committee, must be received before an applicant can be formally admitted to the program.

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Once the Advanced Studies Committee has accepted a student into the School of Church Music, the Director of Admissions will confirm admission to Southwestern Seminary.

GREAn application must include a report within the last five years of the Graduate Record Examinations General Test. While there are no minimum scores for the GRE, there is an expectation of 500 in the verbal area and 500 in the quantitative area or a sum of 1000 in both areas of the General Test. Information about the GRE may be obtained from the Educational Testing Service (www.ets.org/gre).

English RequirementsApplicants whose first language is not English will be required to take the Internet-Based Test of English as a Foreign Language (TOEFL iBT) and achieve a minimum score of 100 (or 600 on the Paper-Based Test). Applicants not achieving the minimum score but who have earned a degree in an accredited English-language program in a North American institution may request a waiver with supporting documentation. Applicants who have completed an M.M. degree at Southwestern Seminary are exempt from the TOEFL requirement. Applicants not achieving the minimum score may be admitted provisionally. In all cases, if English deficiencies are discovered in the course of study, proficiency courses may be required. Information about the TOEFL iBT may be obtained from the Educational Testing Service (www.ets.org/toefl).

InterviewAn applicant for a doctoral degree must be interviewed by the Advanced Studies Committee before final approval for admission can be granted. Ideally, the interview should be held on campus, but interviews via conference call are permissible.

Ph.D. Evidence of Scholarship Each applicant for the Ph.D. will be required to submit a research document either previously prepared or prepared especially for the Ph.D. application. This document should reflect the applicant’s highest level of scholarship and academic writing.

D.M.A. AuditionsApplicants for the D.M.A. degree will perform an audition before the faculty of the proposed department of concentration. This audition should ideally be performed at the time the applicant is on campus for the interview or it may be performed during orientation.

Organ and PianoThe D.M.A. student who expects to concentrate in organ or piano will

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be required to play a thirty- to forty-minute entrance audition. The repertoire should represent a contrast of styles and should reflect a level of achievement equivalent to a master’s-degree recital.

VoiceThe D.M.A. student who expects to concentrate in voice should arrive on campus in time to confer with an accompanist before the audition. The audition material will consist of six songs from memory: four art songs (one each in German, Italian, French, and English), one opera aria in its original language, and one oratorio aria in English. The selections should represent the major periods of music history, including the modern era.

ConductingThe D.M.A. student who expects to concentrate in conducting is required to give an entrance recital within the first fifteen hours of course work if the master’s degree did not include a master’s-level recital. Prospective conductors must have advanced keyboard proficiency.

CompositionThe D.M.A. student who expects to concentrate in composition will submit a list of compositions completed and a representative group of scores and recordings to be evaluated by the composition department.

Admittance to and Continuation in the ProgramThe Advanced Studies Committee and the faculty of the School of Church Music reserve the right to decline to admit, or to continue as a student, any person who fails to meet established qualifications.

Special Student StatusIf a student requires a considerable amount of leveling work or doctoral prerequisites, the Advanced Studies Committee may classify them as a Special Church Music Student until they are ready to begin full-time doctoral study. A student may take as many as three doctoral-level courses (i.e., 7000-level) without formal acceptance by the Advanced Studies Committee into the doctoral program.

ACADEMIC AND ENROLLMENT POLICIES

Continued EnrollmentEvery doctoral student is required to enroll in the fall and spring semesters each year and pay the enrollment fee from the beginning of the program until graduation or withdrawal from the program. Doctoral students who

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are not enrolled for regular course work, Doctoral Research and Writing, or doctoral examinations (either qualifying or final) must enroll in Doctoral Continued Enrollment.

Doctoral students in good standing will automatically be registered for DOCTR 7000 Comprehensive Exam Preparation during the summer term to provide access to seminary services, including the RAC and the Campus Medical Clinic.

GPAAn average grade of B (3.0) must be maintained to remain in the doctoral program.

Time LimitBoth the Ph.D. and D.M.A. degrees must be completed within a period of seven years from the time of formal admission into the doctoral program. Extensions may be granted to students who are serving in an international mission field.

WithdrawalDoctoral students who, for any reason, withdraw from course work during a semester are required to follow prescribed seminary procedures. The student should discuss the situation with the Associate Dean of the Academic Division of the School of Church Music to explore other scenarios. If withdrawal is deemed absolutely necessary, the student should complete a withdrawal form from the Registrar’s Office and obtain clearance from the seminary Business Office, Roberts Library, and any other applicable seminary offices.

HEALTH AND SAFETY CONCERNS FOR MUSICIANS

IntroductionAs musicians, we use our bodies in very specific ways as we hone our craft as students and perform for a lifetime as professionals. It is crucial, therefore, that we be aware of the physical hazards that musicians face on a daily basis and that we make appropriate and well-informed decisions to protect our bodies. The School of Church Music pledges to support you in this endeavor through education, guidance, and in providing a safe environment for music studies.

Hearing LossPerhaps the most important physical damage that we all potentially face is the loss of hearing. Hearing loss is devastating to anyone, but even more so to those who depend on making and hearing sound as their livelihood. An

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information pamphlet concerning hearing loss is available here, and we encourage all students to read it carefully and follow its suggestions. Many of you may already suffer hearing loss and may not even be aware of it. By the time hearing loss has become noticeable, much irreparable damage has been done. It is important to limit your exposure to loud sound on a regular basis. If you believe any environment on campus is aurally unhealthy, please discuss this with your ensemble director, private teacher, or music administrator for a possible remedy.

Physical Strain and InjuryEach performing discipline has its potential hazards, whether it’s vocal nodules for singers or tendinitis for pianists. We encourage you to be aware of any pain you experience as you practice or perform. Your private teacher can help guide you to appropriate solutions. It is important not to delay seeking help before permanent damage takes place.

ResourcesAdditional online resources can be found here that will help you in your journey of becoming a safe and healthy musician. These resources include a bibliography of materials available in Bowld Music Library and links to websites of organizations concerned with medical issues of performing musicians and websites with specialized information on these issues. It is important that you become well informed of risks and solutions and that you assume an active role in staying healthy for a lifetime of music making.

ORIENTATION AND REGISTRATION

Auditions and Placement ExaminationsAll new students in the School of Church Music are required to participate in orientation before their first semester of study. During this time, all doctoral students will take auditions and placement examinations to determine any need for leveling work, and all new D.M.A. students will audition for their applied area if they have not already done so. Auditions are required of all doctoral students in voice, piano, and conducting; placement examinations are required in music theory and music history. In addition, students who have not taken the four basic courses in church music at the master’s level (worship, philosophy in ministry, congregational song, administration in ministry), either at Southwestern or comparable classes at other institutions, may choose to take examinations in those areas to satisfy the prerequisite for doctoral study or they may take the courses at Southwestern.

More detailed information on auditions and placement examinations is available online.

http://www.swbts.edu/academics/schools-programs/churchmusic/prospective-music-students/graduate-and-doctoral-music-student-orientation/

http://www.swbts.edu/academics/schools-programs/churchmusic/current-students/resources-for-health-and-safety-issues/

http://www.swbts.edu/swbtsv7/assets/File/Church%20Music/Protect_Your_Hearing.pdf

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Southwestern M.M. GraduatesA student who has earned a Master of Music degree from Southwestern within the previous two years does not need to participate in orientation or take the auditions and placement examinations.

Advising and Registration After completing auditions and placement examinations, the doctoral student will meet with his advisor, normally the chair of the department of concentration, to determine the student’s schedule for the first semester.

In subsequent semesters, the student and advisor will review the student’s degree proposal (discussed below) during each semester’s advance registration period.

DOCTORAL PREREQUISITES

Doctoral prerequisites are those courses that a student should have completed before pursuing advanced doctoral work.

Southwestern M.M. GraduatesA student who has earned a Master of Music degree from Southwestern and will continue in the same concentration in the doctoral program will have satisfied all doctoral prerequisites.

A student who has earned a Master of Music degree from Southwestern in a different concentration than they wish to pursue in the doctoral program will be required to complete the differences between the two master’s-level concentrations, including the written comprehensive concentration exam and, if required on the concentration, a thesis, recital, and/or document.

Non-Southwestern GraduatesThe transcript of a student with a master’s degree from another accredited institution will be evaluated for appropriate prerequisites for doctoral work at Southwestern in two main areas.

Church Music PrerequisitesAll doctoral students must have had equivalent master’s-level courses in the following areas as prerequisites for doctoral study in church music: worship, philosophy in ministry, congregational song, and administration in ministry. If any of these areas is lacking, the student may either take the course at Southwestern or pass the advanced standing examination offered during orientation.

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Concentration PrerequisitesBased on the student’s transcript as well as auditions, the department of concentration may require any course work that must be completed before the student is fully admitted into the doctoral program. These requirements may include private study in applied areas, specific master’s-level course work, the written comprehensive concentration exam, and thesis, recital, and/or document.

ProceduresAll procedures and requirements for the doctoral prerequisites of a thesis, recital, or document will be identical to those for the M.M. degree as detailed in the Manual for Master’s Students. These procedures include the submission of a thesis prospectus to the Curriculum Committee for approval, the assignment of first and second readers, and the binding of the thesis for the library with related fees. In addition, the thesis will be presented to the Advanced Studies Committee for final approval. For the recital, these procedures include any preliminary recital as required by the department and the preparation of program notes for the printed program.

The thesis, recital, and/or document prerequisite must be completed as early in the program as possible. The Advanced Studies Committee may require completion of such prerequisites before official admittance into the program.

All course work to meet doctoral prerequisites will receive graduate credit but will not apply to the doctoral degree.

All doctoral prerequisites and leveling work must be completed within the first year of study. Students may not enroll for doctoral seminars without the appropriate leveling work.

DOCTORAL COURSE REQUIREMENTS

As with most university doctoral degrees, Southwestern’s Ph.D. and D.M.A. degrees require about 90 hours of course work beyond the baccalaureate degree. Both of these degrees are based upon the seminary’s Master of Music degree (49 hours), with the Ph.D. requiring 40 to 42 hours and the D.M.A. requiring 42 to 49 hours, depending upon the concentration. The Southwestern doctoral degree, therefore, requires 89 to 98 hours beyond the bachelor’s degree.

The Catalog contains the official degree plan for each concentration. The student will follow the Catalog for the year in which they were fully admitted into the doctoral program.


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If revisions are made to the degree plan during the time of a student’s course work, the student may opt to follow the new Catalog if desired. The decision to follow a new Catalog is final, so consultation with the advisor as well as the chair of the Advanced Studies Committee is recommended before making such a decision.

Transfer CreditsCourses at the doctoral level from other accredited institutions may apply toward the required hours when they (1) were eligible for credit in the doctoral program offered by the institution at which they were completed, (2) show a clear relationship to courses offered at Southwestern, (3) carry a grade of A or B, (4) do not completely eliminate course work in any one department at Southwestern, and (4) are within the limits established by general seminary policy in the Catalog.

LANGUAGE COMPETENCIES

German Reading CompetencyGerman has traditionally been a principal language in the scholarly study of music. Consequently, all doctoral students––both Ph.D. and D.M.A.––are required to demonstrate proficiency in the reading of German.

Students may prepare for the examination in any number of ways, including self-instruction, private tutoring, and courses at other institutions. Students may also take MUHST 7013-7023 Reading Music-Related German I-II, which is offered by the School of Church Music for the convenience of doctoral students, to prepare themselves for the German Reading Examination. The course provides a basic understanding of German grammar, syntax, vocabulary, and translation. Passing the Final Examination for the second semester of the course will satisfy the German Reading Examination.

The German Reading Examination consists of selected excerpts that represent the types of reading the student might encounter in doctoral studies. For example, there may be short excerpts from (1) scholarly articles in music theory, music history, church music, and applied fields, (2) texts of vocal works, (3) primary documents (e.g., letters, wills), and (4) passages in Gothic type (Fraktur ). The excerpts will represent typical writing styles and vocabulary.

The student will translate some excerpts into accurate, if unpolished, English or will answer a series of questions about the excerpts in English with no assisting materials. For other excerpts, the student may use any aids desired, such as dictionaries or grammars, but may not use existing

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translations. These excerpts are to be translated into idiomatic, scholarly, and polished English at a level suitable for inclusion in a dissertation.

The examination is graded by the professor of the German reading course or by a representative of the Advanced Studies Committee, who makes a recommendation of pass or fail to the committee, sometimes in consultation with other faculty members.

Students are encouraged to pass the German Reading Examination as soon as possible in their degree program. A student who has not passed the examination by the completion of eighteen hours of doctoral seminars will be permitted to enroll only in Doctoral Continued Enrollment until the German language requirement has been satisfied. The German Reading Examination may be taken any number of times (allowing sufficient intervals for additional preparation) that the committee deems reasonable.

A sample German Reading Examination is available in the Academic Division Office.

Second Foreign Language Reading CompetencyIn addition to the German Reading Examination, Ph.D. students as well as D.M.A. students in conducting are required to demonstrate reading competency in a second foreign language. In most cases, this will be French, but may, by approval of the Advanced Studies Committee, be another language more appropriate to the student’s area of dissertation research. For example, Hebrew or Greek may be more relevant for students in the ministry concentration working with biblical texts.

The second foreign language requirement can be satisfied through the completion of a two-semester sequence of reading courses offered at Southwestern (or parallel courses on the graduate level at another institution) with the grade of B or higher. If the student pursues private study, an examination will be offered through arrangements with the chair of the Advanced Studies Committee.

International students for whom English is a second language may request the Advanced Studies Committee to accept their native language as their second foreign language. German reading competency must still be shown by passing the examination described above.

RESIDENCY REQUIREMENTS

Two consecutive semesters in which the student satisfactorily completes a specified number of hours of graduate course work consisting primarily of

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doctoral seminars or applied lessons will satisfy the residence requirements of the institution. For Ph.D. concentrations, this is 18 hours; for D.M.A. concentrations, it is 16 hours.

REVIEW OF PROGRESS

The total record of a student is subject to review each semester of enrollment to determine if the student may continue in the doctoral program.

Periodic ReviewAs part of the regular review process, the student will be invited to attend at least one of the regularly scheduled meetings of the committee for a personal interview. Such matters as the following will be discussed:

Completion of all required leveling work and doctoral prerequisites, including a thesis or recital

GradesClarification of expectationsMaintenance of the degree plan schedulePreparation for qualifying examinationsProgram ideas for recitalsTentative areas of interest for the dissertationPlans for future after graduation or residency

Opportunity will also be provided for the student to ask questions of the committee members, particularly regarding their evaluation of student progress, any particular strengths or weaknesses they note, or procedural matters concerning the remainder of the degree program.

The Periodic Review may be repeated as necessary at the discretion of the Advanced Studies Committee.

Voice ReviewEvery semester the student concentrating in voice performance or voice pedagogy does not perform a recital, the student will give a twenty-five-minute performance before the voice faculty to determine if the student may continue in the concentration.

DEGREE PROPOSAL

A degree proposal will be developed by the student during the first semester in the doctoral program in consultation with the chair of the department of concentration. Upon approval by the department chair, the

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proposal must be approved by the chair of the Advanced Studies Committee. All variances or special requests must be approved by the entire committee. Students who do not submit a degree proposal by the end of their first semester in the doctoral program will be limited to Doctoral Continued Enrollment until a completed degree proposal is approved.

ContentsStudents will list each requirement that must be fulfilled for the completion of the degree and a proposed schedule in the following format.

Leveling Work (if required)A listing of all leveling work required by auditions and placement examinations given during orientation.

Doctoral Prerequisites (if required)A listing of all course work required by the department of concentration as a prerequisite for doctoral study, including thesis, recital, and/or document.

Course NumbersAt the time of registration for each semester, course numbers for leveling work and doctoral prerequisites may be assigned a 7000 number for tuition purposes. Please consult the Academic Secretary or the Associate Dean of the Academic Division for the correct number for registration.

Transfer Credit (if applicable)A listing of all courses to be transferred indicating the Southwestern courses for which they will substitute. Course descriptions from the institution’s catalog must be attached. The Transfer Credit Evaluation Form must also be submitted to the Registrar’s Office. Please consult the Catalog for additional policies concerning the transfer of credits.

Doctoral Course WorkA listing of all seminars, recitals, exams, and other requirements that must be completed to satisfy the requirements for the concentration as listed in the Catalog. A projection of seminar offerings is available online.

ChronologyA semester-by-semester chronology of all requirements listed in the previous sections, including prerequisite and leveling work (if required), language reading examination(s), qualifying examinations, dissertation/document/recital(s), and final oral examination.


http://catalog.swbts.edu/enrollment-services/academic-and-enrollment-policies/

http://www.swbts.edu/swbtsv7/assets/File/Registrar/Transcript_Evaluation_Form.pdf

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In addition, the semesters in which the residency requirement will be met should be indicated.

RequestsRequests for course substitutions or any variation from the degree plan as published in the Catalog should be included as footnotes in the degree proposal. For Special Research courses that are not required by the degree plan, the student should meet with the intended professor of study to secure advance approval and in the proposal should explain the rationale for the substitution, suggesting possible topics for the guided research.

Format and SampleThe required format for the degree proposal and a sample degree plan appear below, indicating all possible types of contents for the sake of example and is therefore considerably lengthier than most proposals will be. The sample degree plan is for a student with a master’s degree in piano at another institution who is pursuing a Ph.D. with a concentration in music ministry and thus is lacking doctoral prerequisites.

ApprovalOnce the degree proposal is approved, it becomes a binding agreement between the student and the School of Church Music. The student will be expected to abide by the course listings and schedule established therein. Minor changes (e.g., scheduling of examinations, seminar substitutions), which are to be expected occasionally, may be made through the department chair and the chair of the Advanced Studies Committee. Major changes will need to be approved by the full committee. A student having several significant changes to the degree proposal may be asked to prepare a new version of the proposal incorporating such changes.

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SAMPLE APPROVAL PAGE FOR DEGREE PROPOSAL

Degree Proposal

Submitted by John S. Brook

to the Music Ministry Department

and the

Advanced Studies Committee

School of Church Music

Southwestern Baptist Theological Seminary

November 19, 2015

____________________________________________________________________________________________________________________________________________________________

Approved

_______________ __________________________________________ Date Department Chair

_______________ __________________________________________ Date Chair, Advanced Studies Committee

⃞ Committee Approval Required ⃞ Final Approval

_______________ __________________________________________ Date Committee Approval (if required)

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FORMAT OF THE DOCTORAL DEGREE PROPOSAL

NAME:

DEPARTMENT OF CONCENTRATION:

DATE OF CATALOG:

DATE OF PROPOSAL:

LEVELING WORK

Course No. Course Title (hrs.) Scheduled Semester



TRANSFER CREDITS Institution: (course descriptions attached)

SWBTS Course No. Course Title (hrs.) Grade Course No. Course Title (hrs.)

PROJECTED DOCTORAL COURSES BY DEPARTMENTS


CHRONOLOGY

Course No. Course Title No. of hours

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SAMPLE DOCTORAL DEGREE PROPOSAL

NAME: John S. Brook

DEPARTMENT OF CONCENTRATION: Music Ministry

DATE OF CATALOG: 2014-2015

DATE OF PROPOSAL: November 2015

LEVELING WORK

Course No. Course Title (hrs.) Scheduled SemesterCONDG 4612 Conducting and Choral Procedures I (2 hrs.) Fall 2015VOICL 3912 Class Voice I (2 hrs.) Fall 2015VOICL 3922 Class Voice II (2 hrs.) Spring 2016VOICL 4970 Voice Proficiency Spring 2016


Course No. Course Title (hrs.) Scheduled SemesterMUMIN 4222 Congregational Song (2 hrs.) Advanced Standing Exam 2MUMIN 4312 Philosophy in Ministry (2 hrs.)

Advanced Standing ExamMUMIN 4322 Administration in Ministry (2 hrs.) Advanced Standing ExamMUMIN 3362 Worship (2 hrs.) Fall 2015MUMIN 4342 Church Music Education I (2 hrs.) Fall 2015MUMIN 4340 Children’s Choir Lab (0 hrs.) Fall 2015MUMIN 4352 Church Music Education II (2 hrs.) Fall 2015MUMIN 4362 Church Music Education III (2 hrs.)

Spring 2016MUMIN 4562 Multicultural Worship (2 hrs.)

Spring 20173MUMIN 4622 Seminar in Worship Planning (2 hrs.)

Summer 2016MUMIN 4252 Music in Worship (2 hrs.) Spring

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2016MUMIN 4294 M.M. Thesis in Church Music1 (4 hrs.)

Spring 2016

1 ?I request to substitute MUMIN 4294 M.M. Thesis in Church Music for the following four hours in the Music Ministry Concentration as provided in the Catalog: MUMIN 3331 Practicum: Instrumental Church Music, MUMIN 4561 Practicum: Media and Audio Technology, MUMIN 3351 Supervised Ministry I, and MUMIN 3361 Supervised Ministry II.

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TRANSFER CREDITS Institution: University of North Texas (course description attached)

SWBTS Course No. Course Title (hrs.) Grade Course No. Course Title (hrs.) MUMH 6740 Baroque Music (3 hrs.) A- MUHST 7123

Baroque Music (3 hrs.)

PROJECTED DOCTORAL COURSES BY DEPARTMENTS


Music Ministry

MUMIN 7213 Seminar in Church Music History (3 hrs.) Fall 2016

MUMIN 7233 Seminar in Philosophy of Church Music (3 hrs.) Fall 2015

MUMIN 7243 Seminar in Music in Worship (3 hrs.) Fall 2017

MUMIN 7253 Seminar in Hymnology (3 hrs.) Spring 2016

MUMIN 7263 Seminar in Music Education (3 hrs.) Spring 2017

MUMIN 7283 Special Research in Church Music (3 hrs.) Fall 2017

MUMIN 8016 Doctoral Dissertation in Church Music (6 hrs.) Spring 2019

Music History

MUHST 3133 Reading Music-Related German I (3 hrs.) Fall 2015MUHST 3143 Reading Music-Related German II (3 hrs.)

Spring 2016MUHST 7143 Nineteenth-Century Music (3 hrs.) Fall 2016MUHST 7153 Twentieth-Century Music (3 hrs.)

Spring 2017

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Music Theory

MUTHY 7423 Seminar in Advanced Tonal Analysis (3 hrs.)Fall 2016

MUTHY 7443 History of Music Theory (3 hrs.)Spring 2017

Elective

ENSEM 7618 Wind Ensemble (1/2 hr.) Fall 2016ENSEM 7618 Wind Ensemble (1/2 hr.)

Spring 2017

Examinations

MUDOC 8060 German Reading ExaminationSpring 2016

MUDOC 8070 Second Language Reading Examination Spring 2017

MUDOC 8080 Doctoral Qualifying ExaminationSpring 2018

MUDOC 8090 Doctoral Final Oral ExaminationSpring 2019

CHRONOLOGY

Course No. Course Title No. of hours

Fall 2015

CONDG 4612 Conducting and Choral Procedures I 2VOICL 3912 Class Voice I 2MUHST 3133 Reading Music-Related German I 3MUMIN 3362 Worship 2MUMIN 4342 Church Music Education I 2MUMIN 4340 Children’s Choir Lab 0MUMIN 4352 Church Music Education II2 2

2 ?I have petitioned to take MUMIN 4342 Church Music Education I and

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MUMIN 7233 Seminar in Philosophy of Church Music 3

Spring 2016

VOICL 3922 Class Voice II 2VOICL 4970 Voice Proficiency 0MUHST 3143 Reading Music-Related German II 3MUMIN 4362 Church Music Education III 2MUMIN 4252 Music in Worship 2MUMIN 4294 M.M. Thesis in Church Music 4MUMIN 7253 Seminar in Hymnology 3MUDOC 8060 German Reading Examination 0

Summer 2016

MUMIN 4622 Seminar in Worship Planning 2

Fall 2016 – Residency

ENSEM 7618 Wind Ensemble 1/2MUHST 7143 Nineteenth-Century Music 3MUMIN 7213 Seminar in Church Music History 3MUTHY 7423 Seminar in Advanced Tonal Analysis 3

Spring 2017 – Residency

ENSEM 7618 Wind Ensemble 1/2MUHST 7153 Twentieth-Century Music 3MUMIN 4562 Multicultural Worship 2MUMIN 7263 Seminar in Music Education 3MUTHY 7443 History of Music Theory 3MUDOC 8070 Second Language Reading Examination 0

Fall 2017

MUMIN 7243 Seminar in Music in Worship 3MUMIN 7283 Special Research in Church Music 3

MUMIN 4352 Church Music Education II simultaneously in order not to delay the completion of my doctoral prerequisites and have received approval from the professor.

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Spring 2018

MUDOC 8080 Doctoral Qualifying Examinations 0

Fall 2018

MUDOC 8000 Doctoral Research and Writing 0

Spring 2019

MUMIN 8016 Doctoral Dissertation in Church Music 6MUDOC 8090 Doctoral Final Oral Examination 0

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QUALIFYING EXAMINATIONS

Doctoral Qualifying Examinations, consisting of both written and oral sections, serve as one of the culminating activities of the student’s doctoral studies. The student should be particularly strong in the areas covered in seminar work, but the examinations will range through the whole field of music and are designed to explore the breadth and depth of the student’s total musical knowledge and understanding. They are designed to assure the committee that it is justified in qualifying the student as a candidate for the Doctor of Philosophy or Doctor of Musical Arts degree.

To be eligible for Doctoral Qualifying Examinations, the student must have satisfied all leveling work and doctoral prerequisites (including thesis or recital), met all foreign language reading requirements, and completed all music seminars.

Examinations as scheduled in the student’s degree proposal may be postponed if the student feels more time for preparation would be beneficial. The student should keep in mind the seven-year time limit, however, and the time required for the dissertation or document/recital.

The student registers for Doctoral Qualifying Examinations at the beginning of the semester during which they are to be taken. The written examinations are given no later than the eighth week of the semester; the specific date will vary according to the number of students enrolled in the examinations and will be set no later than the first day of classes for the semester. The written exams are taken over a period of four days, one exam per day. The two-hour oral examination is usually scheduled a week or two after the written examinations.

In addition to the examinations described below, a student concentrating in conducting will present a qualifying recital within thirty hours of doctoral work (Doctoral Conducting Recital I).

D.M.A. Written Qualifying ExaminationsThe written qualifying examinations for the D.M.A. include (1) music ministry, (2) music history, (3) music theory, and (4) the student’s applied area (composition, conducting, organ performance, piano performance, piano pedagogy, voice performance, or voice pedagogy). The written examination in the student’s area of concentration is three hours long; the others are two hours each.

Ph.D. Written Qualifying ExaminationsThe written qualifying examinations for the Ph.D. include (1) music ministry, (2) music history, (3) music theory, and (4) an additional exam within the department of concentration. Each of these exams lasts three

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hours.

Evaluation of Written ExaminationsAll written exams must be passed before the student is eligible to take the oral examination. If any of the qualifying examinations are failed, they may be retaken after a period of six months. Students need only retake written exams they have not passed. Each time a student takes the written qualifying examinations, whether one or more of them, is considered an attempt. The student is allowed two attempts at passing the written qualifying examinations. After two failures, the student will not be permitted to continue in the doctoral program.

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Oral Qualifying ExaminationA committee for the oral examination is selected specifically for each student and will normally include the department chairs (or their representatives) who submitted and evaluated the written examinations, an additional member from the department of concentration, and the chair of the Advanced Studies Committee.

Normally, each member asks a series of questions in turn, cycling through the committee until all members have had an opportunity to examine the candidate. A second round of questioning follows. When all committee members are satisfied that they can make a decision, the candidate will be excused while the committee deliberates and will be recalled to hear the committee’s decision.

The student is judged on the correlation and integration of knowledge from different fields, the mental organization of the knowledge, and the clear oral presentation of responses to the questions. The committee generally prefers that a student “think aloud” in response to a line of questioning even when unsure of the answers rather than simply giving a negative response.

Evaluation of Oral ExaminationThe qualifying examinations are designed to be passed by students who have thoroughly prepared themselves. Those students who pass will continue to prepare a prospectus for the dissertation or document. The student is allowed two attempts at passing the oral qualifying examination. After two failures, the student will not be permitted to continue in the doctoral program.

RECITAL PROGRAMS

Style guidelines for preparing recital programs are available in the Performance Division and online. The student preparing a recital will be expected to follow the procedures in the latest version of the style guidelines as well as any other requirements for timely submission of recital repertoire and program notes.

DISSERTATION OR DOCUMENT

The dissertation or document should reflect the student’s highest levels of achievement in research, analysis, and interpretation and should constitute an original contribution to the discipline.

The doctoral student should explore possible topics for the dissertation or document throughout the seminar stage in consultation with the


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department chair. Normally, the dissertation topic or repertoire for document is chosen by the time of qualifying examinations.

Organ, Piano Performance, and Voice Performance GuidelinesThe dissertation for these areas consists of three recitals covering the literature of the applied field, each one requiring program notes. In addition, the final recital will be a lecture-recital documented by a research document that thoroughly examines the musical style and performance practices of the music to be performed. The document should demonstrate the depth of investigation that the student has made of the literature selected for the performance. The performance in turn is expected to reflect the knowledge gained in preparing the document, and the performance should in no way disagree with its findings. As part of the lecture-recital, the student will apprise the audience, which has not had the benefit of the document, of the high points of the investigation.

The document is a prerequisite to the final recital and must be entirely approved in its complete and final form by the first and second readers before registration for the recital course number is permitted. The student will acquire the signatures of the readers on the Preliminary Approval Page for Dissertation or Document (see below for format) confirming their acceptance and submit that page to the Associate Dean of the Academic Division prior to registering for the recital.

Piano Pedagogy and Voice Pedagogy GuidelinesBoth the document in piano pedagogy and the dissertation in voice pedagogy demonstrate the depth of investigation that the student has made of the pedagogical aspects of the literature selected. The document is validated through the presentation of a lecture-recital in which the student apprises the audience, which has not had the benefit of the document, of the high points of the investigation. The performance is to reflect the knowledge gained in preparing the document, and the performance should in no way disagree with its findings. Detailed program notes are required.

The document is a prerequisite to the recital and must be entirely approved in its complete and final form by the first and second readers before registration for the recital course number is permitted. The student will acquire the signatures of the readers on the Preliminary Approval Page for Dissertation or Document (see below for format) confirming their acceptance and submit that page to the Associate Dean of the Academic Division prior to registering for the recital.

Conducting Guidelines for Recitals and Document The DMA conducting concentration requires three public performances (the first of which is the qualifying recital) in which the student conducts works

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from a variety of periods. The student must work closely with the department chair in selecting music, recruiting performing forces, organizing rehearsals, and mounting the performances. All expenses are borne by the student. Detailed program notes are required for all three recitals.

For one recital, a cappella choral forces should predominate, a second contains instrumental works, and a third focuses on works that combine choral and instrumental forces. Each recital must contain at least 50-60 minutes of music.

The first two recitals will be supported by a paper submitted only to the conducting department that should highlight the issues of performance practice, style, and interpretation of the periods represented and particular problems anticipated in rehearsals and performance. While structure, medium, texture, melodic, harmonic, and rhythmic elements must be discussed in relation to performance consideration, these documents are not concerned primarily with theoretical analysis.

The document in conducting should be a general topic concerning the discipline and could involve a historical, technical, or interpretive perspective. It is not necessarily or specifically related to the repertoire of the final recital, although it is a prerequisite for it. The document will be the subject of the final oral exam, which occurs after the third and final recital.

The document is a prerequisite to the final recital and must be entirely approved in its complete and final form by the first and second readers before registration for the recital course number is permitted. The student will acquire the signatures of the readers on the Preliminary Approval Page for Dissertation or Document (see below for format) confirming their acceptance and submit that page to the Associate Dean of the Academic Division prior to registering for the recital.

Composition Guidelines The composition dissertation is a large work for performing forces chosen by the student and approved by the major professor. Performance of the work is not required, but it is encouraged. The dissertation may not be submitted until the student has successfully presented the D.M.A. composition recital. The composition dissertation must be accompanied by a short literary document that explains the composer’s compositional intent and creative process. The dissertation must receive final approval from both the first and second readers at least sixty days prior to graduation. The student will acquire the signatures of the readers on the Preliminary Approval Page for Dissertation or Document (see below for format) confirming their acceptance and submit that page to the Associate Dean of

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the Academic Division prior to the Final Oral Examination being scheduled.

Composers are required to follow standard notational practice as set forth in The Norton Manual of Music Notation by George Heussenstamm. Music Engraving Today: The Art and Practice of Digital Notesetting by Steven Powell offers assistance in adopting traditional practice to modern software programs.

Music Ministry, Music Theory, and Musicology Guidelines The Ph.D. dissertation should make a distinct contribution to scholarly knowledge in music. Whereas the master’s thesis is primarily for the student’s benefit, the dissertation should benefit the academic and musical community.

Extremely broad topics are generally not suitable as are very limited topics. The literary dissertation normally requires research not only in secondary sources but in primary documents as well as the music itself. The student must demonstrate adequate facility in related disciplines required by the topic, which may include theology, philosophy, psychology, acoustics, or languages other than English, German, and French.

The student is responsible for determining that the proposed topic has not been treated in published works in any language or in other dissertations (either completed or in progress). Students should consult Dissertation Abstracts International (available at Southwestern through FirstSearch) and Doctoral Dissertations in Musicology-Online (http://www.chmtl.indiana.edu/ddm/) to prevent such duplications. Once the prospectus has been approved by the Advanced Studies Committee, students writing Ph.D. dissertations should register their topics through Doctoral Dissertations in Musicology-Online. When the dissertation receives its final approval, the student should update information on it.

The dissertation must receive final approval from both the first and second readers at least sixty days prior to graduation. The student will acquire the signatures of the readers on the Preliminary Approval Page for Dissertation or Document (see below for format) confirming their acceptance and submit that page to the Associate Dean of the Academic Division prior to the Final Oral Examination being scheduled.

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DISSERTATION OR DOCUMENT PROSPECTUS

The student must submit a prospectus concerning the proposed dissertation or document to the Advanced Studies Committee for approval. The student must successfully pass qualifying examinations before submitting the prospectus.

ContentThe prospectus should establish the purpose, need, and feasibility of the study. Scope and limitations should be made clear, together with reasons for the boundaries. The title should reflect these ideas in as succinct a form as possible. The student must establish a clear relationship of the chosen subject with church music.

The prospectus should also address methodology as well as approaches to anticipated problems. A tentative outline of each chapter should be included. A bibliography will be appended that should be extensive enough to demonstrate that sources not only exist but are available to the student.

The prospectus is to be in a prose writing style that will be considered a reflection of the student’s writing ability and will be evaluated as such. Grammar, spelling, and usage must be correct. The student should strive for a natural but dignified style appropriate to scholarly writing.

ProcedureThe prospectus should be prepared under the guidance of the department chair (and applied teacher for the D.M.A. document). The student will submit one double-spaced copy of the prospectus to the department chair for the department’s approval. When the department has approved the prospectus, the department chair will sign the title page of the prospectus, after which the student will submit ten copies of it to the chair of the Advanced Studies Committee for that committee’s approval.

It is not necessary for the student to meet with the committee concerning the prospectus. The professor who worked with the student in developing it will meet with the committee and is normally assigned as first reader. The committee selects a second reader according to any special demands of the dissertation.

PROSPECTUS GUIDELINES

I. Proper title page format according to sample page below (with terms adjusted for Ph.D. or D.M.A. and dissertation or document)

II. Tentative title

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III. General statement of purpose

IV. Need for and feasibility of study

V. Scope and limitations (e.g., topical, geographical, chronological) and reasons for the boundaries

VI. Methodology

A. Approach1. Research in secondary sources2. Analysis of primary sources3. Statistical data4. Interviews, etc.

B. For documents in the fields of organ, piano, voice, and conducting, the prospectus should also indicate:1. Projected calendar of rehearsals and performance2. Indications of performance times of the individual works

or sections and the duration of the total recital

C. For composition dissertations, the prospectus should: 1. Indicate as specifically as possible the media of each

section2. Give the entire text in libretto fashion and with

documentation indicating translation or version where appropriate

3. Indicate style and character of each section with appropriate technical terms

VII. Specific problems anticipated and proposed solutions

A. Location and securing of materialsB. Languages, etc.

VIII. Outline

IX. Bibliography

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SAMPLE TITLE PAGE FOR PROSPECTUS

THE HYMNODY OF THE SOUTHERN BAPTIST CONVENTION (1940-1985)

AS A REFLECTION OF THAT DENOMINATION’S

THEOLOGY AND CULTURE

Ph.D. Dissertation Prospectus

or

D.M.A. [Applied Area] Document Prospectus

Submitted by John S. Brook

to the Music Ministry Department

and the

Advanced Studies Committee

October 20, 2018

______________________________________________________________________________

______________________________________________________________________________

Approved

_______________ __________________________________________ Date Department Chair

_______________ __________________________________________ Date Chair, Advanced Studies Committee

________________ ________________First Reader Second Reader

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PREPARATION OF DISSERTATION OR DOCUMENT

After the prospectus is approved by the Advanced Studies Committee, the student should establish regular conference periods with the first reader. Although a reader is accorded wide latitude in the manner of supervision, the following pattern is representative for both literary dissertations and documents for performances:

1. The student and first reader should have already agreed on an overall outline for the prospectus, but it is always subject to change as topics are adjusted and refined.

2. The student makes the first large sweep through the literature on the subject, extracting information as needed. The first reader should be aware of the scope of this research.

3. The student should submit a draft of each chapter in turn to the first reader as they become ready. Although still a draft, the student should take care to submit work that has already been polished as much as possible. It should be well organized, accurate in spelling and grammar, and conform to the Southwestern Seminary Manual of Style. International students may need to have their drafts proofread before submitting them to their first reader.

4. The first reader will make any suggestions deemed necessary for each draft, including major revisions, such as order, omissions, additions, and as well as minor revisions of literary style. If major corrections are necessary, the student should submit a revised version to the first reader. Upon the first reader’s approval, the student will submit each chapter in turn to the second reader.

5. The second reader is free to make any suggestions that improve the chapter, but will not normally suggest any drastic changes. Depending on a second reader’s particular expertise, the student may need to consult the second reader before completing drafts of particular sections of the paper.

6. This same procedure will be followed, chapter by chapter, until a first draft of the entire dissertation or document is completed. There will be some overlapping among the steps: the student may be writing the second chapter while the first chapter is with the second reader. The student is not to write an entire document or dissertation independently and submit a completed manuscript to the major professor, expecting it to be accepted.

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7. The student will submit a second draft of the entire dissertation or document incorporating all corrections by both readers. There are normally only minor corrections required on this draft. However, the first and second readers may require as many drafts as they deem necessary.

8. Once the first and second readers are satisfied, they will sign Preliminary Approval Page (see below), which will certify the student is eligible to register for the final recital (if a document) and schedule the Final Oral Examination (see below).

MECHANICS OF DISSERTATIONS AND DOCUMENTS

The student is held responsible for the acceptability of every facet of the dissertation, even though professional clerical and proofreading assistance may have been used, and so must observe carefully the requirements of the mechanics of the dissertation as set forth below. Any deviation from the requirements must be cleared with the chair of the Advanced Studies Committee. Any deviation not so authorized may be cause for rejecting the dissertation/document, resulting in postponement of the Final Oral Examination and graduation.

The following guidelines should be helpful for the student preparing a dissertation or document, but they are in no way to be considered exhaustive.

Scholarly Documentation and Literary StyleThe student should read and observe carefully the requirements set forth for dissertations in the latest edition of The Southwestern Seminary Manual of Style. Supplemental information should be drawn from the latest editions of Kate L. Turabian’s A Manual for Writers of Term Papers, Theses, and Dissertations and The Chicago Manual of Style as well as this manual. The student is urged to become familiar with standard practices of documentation and formatting before beginning the dissertation and to abide by them strictly.

Musical NotationFor composition dissertations as well as musical examples in literary dissertations, students must follow standard notational practice as set forth in The Norton Manual of Music Notation by George Heussenstamm. Music Engraving Today: The Art and Practice of Digital Notesetting by Steven Powell offers assistance in adopting traditional practice to modern software programs. Students are urged to become familiar with standard practices of musical notation before beginning the dissertation and to abide by them strictly.

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School of Church Music Statement on PlagiarismPlagiarism is the act of taking credit for ideas and words that are not one’s own. Exploiting the work of another person without attribution and appropriate documentation involves both theft and deception. Plagiarism occurs when a writer does not give credit when borrowing an idea, opinion, or thesis of another writer, reproducing another’s argument or line of reasoning, quoting a brief phrase or lengthy section from another source, slightly or thoroughly paraphrasing a passage, or completely restating a passage. Even when cited appropriately, verbatim quotations, no matter how brief, must be identified by quotation marks.

As a form of intellectual dishonesty, plagiarism is condemned throughout the academic community, and under certain conditions in the public sector it can be a felony. Students who commit it may receive a failing grade for an assignment or for an entire course or be expelled from school; professional scholars may permanently ruin their academic reputations or lose their jobs. As Christian scholars, we are called to a high degree of academic, moral, and spiritual integrity and must be vigilant in guarding against committing this offense. Claiming ignorance or innocence in intent does not rationalize the behavior.

When a professor determines that a student is guilty of plagiarism, a conference should be held with the student to explain the charges of plagiarism and the severity of the offense. The professor may give a failing grade for the assignment. Repeat offenses will require conferences with the Dean of the School of Church Music and the Vice President for Student Services.

For additional information on what constitutes plagiarism and for techniques to avoid it, visit www.plagiarism.org.

CopyrightFor those materials protected by copyright, the student should be certain that their use is clearly within the “fair use” provisions of the law or that they have secured permission to use them from the copyright owners. This applies especially to extensive quotations from musical scores.

After the Final Oral Examination, the student will submit (through Roberts Library) a copy of the dissertation and dissertation abstract to University Microfilms and sign a Dissertation Publishing Agreement Form that includes the following statement: “I represent and warrant to UMI that the dissertation and the abstract are my original work, do not infringe any rights of others, and that I make these grants as the sole owner of the rights to my dissertation and abstract.” The UMI instruction booklet elsewhere states that “copies of permission letters from copyright owners

http://www.plagiarism.org/

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must be attached to the Agreement Form.” The student must take responsibility for securing all permissions.

LengthThere is no maximum or minimum length established for the dissertation. It must exhaust the topic as presented in the prospectus and accepted by the Advanced Studies Committee.

Order of MaterialsSee The Southwestern Seminary Manual of Style.

Spelling and Titles The New Grove Dictionary of Music and Musicians is considered the authority for spelling of names, titles, and terms.

FontTwelve-point Times New Roman should be used throughout the document.

Italics and UnderliningItalics should be used for titles and foreign languages rather than underlining.

Spacing of Text The main body of text should be double-spaced; footnotes and each individual entry in bibliographies should be single-spaced.

Margins Margins in the body of the paper should be one and one-half inches on the left (for binding purposes), one inch on the right, top, and bottom. Pages carrying a major heading should have a two-inch margin at the top. Use left justification only.

Composition DissertationsThe size of paper may vary according to the forces needed, but should in no instance be smaller than 8-1/2 by 11 inches. Margins should be the same as those for literary dissertations with no material (such as clef signs, part designations, and brackets) spilling into the margin.

The accompanying narrative explanation should be on the same size paper as the score itself. However, the margins must be one and three-quarters inches on the right, three inches on the left, three inches at the top, and two inches at the bottom. The heading should be typed in capitals and centered three inches from the top edge of the paper. There should be two double spaces between the heading and body of the dissertation. The top margin for pages carrying a

36

major heading should be three inches and there should be two double spaces between the major heading and the body of the text.

Footnotes Footnotes will be used to document sources and will begin on the same page of the material to which it refers. Footnotes should be numbered consecutively, beginning with “1” in each chapter. For the second or later references, use the author’s last name (but not the first name or initials unless another author of the same surname has been cited), the title (in shortened form, if desired), and the specific page reference.

Illustrative Material The following guidelines should be used:

1. When several different types of illustrations (maps, charts, diagrams, and graphs) are used, they should be labeled as figures and numbered consecutively in arabic numerals. When there is either a large number of one type, or one particularly important type of illustration, that type should be labeled and numbered in a separate series.

2. Charts, graphs, and lists may be called “tables.”

3. Photographs, book title plates, and maps may be called “plates.”

4. Follow the latest edition of Turabian for information on numbering figures and for proper form and placement of captions.

5. Musical excerpts should be called examples and numbered in a separate series. If there are many examples, use double numeration to indicate chapter number and example number, such as Example 3.4.

6. Captions for figures appear underneath the figure; however, the captions for musical examples appear above the example.

7. Musical examples formatted in music notation software must conform to the notational guidelines as set forth in The Norton Manual of Music Notation by George Heussenstamm. Music Engraving Today: The Art and Practice of Digital Notesetting by Steven Powell offers assistance in adopting traditional practice to modern software programs. Musical illustrations copied from published sources must include clefs, key signatures, and other notational elements as well as a reference to the source of the

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example (editor and publisher) within the caption, as in the following samples.

Example 1. Ludwig van Beethoven, Piano Sonata, Op. 109 (ed. B. A. Wallner; Munich: Henle, 1973), 2d movement, Prestissimo, mm. 126-29.

Example 2. Hector Berlioz, Te Deum (ed. Denis McCaldin; Kassel: Bärenreiter, 1973), Tuba mirum, mm. 25-30.

Example 3. George Frideric Handel, Messiah (ed. Watkins Shaw; London: Novello, 1965), “And the Glory of the Lord,” mm. 6-8.

DiacriticalsAll diacriticals (accents acute, circumflex, and grave, cedillas, tildes, umlauts, etc.) must be included, preferably through the word processing program (Word supports all diacriticals). If not available, they must be entered by hand.

Flat, Sharp, and Natural SignsFlat, sharp, and natural signs are preferred but never substitute the letter “b” for a flat sign or the pound sign (#) for a sharp. (Word supports these symbols: ♭♯♮). If the symbols are not available, spell out the words (e.g., B-flat, F-sharp, C-natural).

Hymn-tune NamesHymn-tune names should be written in all capitals, preferably with the first letter of each word slightly larger (e.g., SINE NOMINE). Use 12-point type for the first letter and 10-point for the remaining letters of each word.

Hymn TextsHymn texts require special attention and most literary guides do not discuss them, so considerable information is provided here.

PlacementHymn texts and other poetic texts should be centered left to right on the page.

NomenclatureEach division of a hymn text is referred to as a “stanza,” not a “verse.”

Punctuation Unless there is a definite reason for doing otherwise, the punctuation of the original text is followed.

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CapitalizationEach line of a hymn stanza will begin with a capital letter.

Format Accepted format regarding the style of hymn texts is determined by the metrical structure and the rhyme as detailed below.

1. Alternating lines that rhyme require the second and fourth lines to be indented two spaces from the left.

There is a fountain filled with blood a Drawn from Immanuel’s veins; bAnd sinners, plunged beneath that flood a Lose all their guilty stains. b

The rhyme scheme here is abab, “blood” and “flood,” “veins” and “stains.”

2. Rhyming couplets are not indented, but are flush left.

Jesus shall reign where’er the sun aDoes his successive journeys run; aHis kingdom spread from shore to shore, bTill moons shall wax and wane no more. b

3. An exception to this occurs in Short Meter hymns (6.6.8.6.). While the rhyme scheme is usually abcb, the length of the third line (eight syllables) requires special treatment and is moved two spaces to the left of lines 1, 2, and 4.

I love thy kingdom, Lord, a The house of thine abode, bThe church our blest Redeemer saved c With his own precious blood. b

Further exceptions occur in other metrical forms, where lines are of unequal length and there is a mixture of rhyming couplets and rhyming alternate lines.

4. Rhyming couplets are usually double-indented.

a. A five-line stanza (8.8.4.4.6.).

We three kings of Orient are aBearing gifts we traverse afar, a

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Field and fountain, b Moor and mountain, bFollowing yonder star. a

If the two short lines of four syllables each do not rhyme, they are treated as though they did and are double-indented.

b. A six-line stanza (6.6.6.6.12.12.).

There’s a song in the air! a There’s a star in the sky! bThere a mother’s deep prayer

a And a baby’s low cry! b

And the star rains its fire while the beautiful sing, c

For the manger of Bethlehem cradles a King.c

Because of the unusual length of lines five and six, these are centered left to right under the six-syllable lines.

c. A seven-line stanza (6.6.4.6.6.6.4.)

My country, ’tis of thee, aSweet land of liberty, a Of thee I sing: bLand where my fathers died, cLand of the pilgrim’s pride, cFrom every mountainside c Let freedom ring! b

d. An eight-line stanza (6.6.6.6.4.4.4.4.).

My song is love unknown, a My Savior’s love to me, bLove to the loveless shown, a That they might lovely be. b O who am I, c That for my sake d My Lord should take d Frail flesh and die. c

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Lines five and eight rhyme and are indented four spaces. Lines six and seven are rhyming couplets and are indented six spaces.

5. Other examples.

a. A five-line stanza (8.8.8.8.6.).

O Love that wilt not let me go, a I rest my weary soul in thee; bI give thee back the life I owe, aThat in thine ocean depths its flow a May richer fuller be. b

The rhyming lines two and five are indented two spaces.

b. A six-line stanza (5.5.8.8.5.5.).

Jesus, still lead on a Till, our rest be won a And, although the way be cheerless, b We will follow, calm and fearless; b Guide us by thy hand c To our fatherland. c

c. A nine-line stanza (8.7.8.7.6.6.6.6.7.).

A mighty fortress is our God, a A bulwark never failing; bOur helper he, amid the flood a Of mortal ills prevailing: b For still our ancient foe c Doth seek to work us woe; c His craft and power are great, d And armed with cruel hate, d On earth is not his equal. e

Lines two and four are indented two spaces; lines five, six, seven, and eight are rhyming couplets, indented four spaces. Line nine does not rhyme, and is indented six spaces.

d. An eleven-line stanza with short and long lines (4.4.7.4.4.7.4.4.4.4.7.).

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Infant holy, a Infant lowly, aFor his bed a cattle stall; b Oxen lowing, c Little knowing cChrist the Babe is Lord of all. b Swift are winging d Angels singing, d Noels ringing, d Tidings bringing: dChrist the Babe is Lord of all. b

e. A five-line stanza with very long and short lines (14.14.4.7.8.).

Praise to the Lord, the Almighty, the King of creation! a

O my soul, praise him, for he is thy health and salvation! a

All ye who hear, bNow to his temple draw near;

bPraise him in glad adoration.

a

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SAMPLE TITLE PAGE FOR DOCTORAL ABSTRACT (ADJUST FOR DISSERTATION OR DOCUMENT)




____________________

ABSTRACT

of

A Dissertation [Document]

Presented to

the Advanced Studies Committee

of the School of Church Music


Fort Worth, Texas

____________________

In Partial Fulfillment

of the Requirements for the Degree

Doctor of Philosophy

____________________

by

John S. Brook

December 2019

© Copyright by John S. Brook 2019

44

SAMPLE TITLE PAGE FOR DOCTORAL DISSERTATION(ADJUST FOR DISSERTATION OR DOCUMENT)




____________________


Presented to




Fort Worth, Texas

____________________

In Partial Fulfillment

of the Requirements for the Degree

Doctor of Philosophy

____________________

by

John S. Brook

December 2019

© Copyright by John S. Brook 2019All Rights Reserved

45

SAMPLE PRELIMINARY APPROVAL PAGE FOR DISSERTATION OR DOCUMENT

(ADJUST FOR DISSERTATION OR DOCUMENT)




____________________


Presented to




Fort Worth, Texas

by

John S. Brook

____________________

We hereby state that we have read and approved this dissertation [document] in its final form and that the student is eligible for the [recital and] Final Oral Examination.

APPROVED:

_______________ __________________________________________Date First Reader

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_______________ __________________________________________Date Second Reader

SAMPLE SIGNATURE PAGE FOR DOCTORAL DISSERTATION




____________________


Presented to




Fort Worth, Texas

____________________

APPROVED:

_______________________________________First Reader

_______________________________________Second Reader

_______________________________________Chair, Advanced Studies Committee

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_______________________________________Dean, School of Church Music

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INITIAL SUBMISSION OF DISSERTATION OR DOCUMENT

Once the dissertation or document is approved by the first and second readers in essentially its final form (including copyright permissions) and the Preliminary Approval Page has been submitted to the chair of the Advanced Studies Committee, copies of the dissertation or document on regular paper are made for each member of the Final Oral Examination. The dissertation or document must be submitted no fewer than sixty days before the anticipated date of graduation to allow sufficient time for it to be reviewed by the committee.

FINAL ORAL EXAMINATION

The one-hour Final Oral Examination is the point at which the dissertation or document is either accepted (usually with minor revisions) or returned due to the need for major revisions.

The student registers for the Final Oral Examination at the beginning of the semester of expected graduation. It is scheduled by the chair of the Advanced Studies Committee at least thirty days after the initial submission of the dissertation or document to the committee and at least thirty days before graduation.

The committee for the Final Oral Examination includes four faculty members, including the first and second readers and two additional members whose areas of expertise correlate with the subject matter. The examination covers the dissertation/document and its general relation to the field of music.

Upon successful completion of the Final Oral Examination, the chair of the Advanced Studies Committee will certify the student for graduation.

If the dissertation or document is not approved at the Final Oral Examination, it may be resubmitted once all suggested revisions have been made.

FINAL SUBMISSION OF DISSERTATION OR DOCUMENT

After the Final Oral Examination but before graduation, the student will make any revisions required by the committee. Then five copies of the dissertation or document will be made. The library will retain one copy for archival purposes, Bowld Music Library will retain one for reference, one will be delivered to the major professor, one will be forwarded to Dissertation Abstracts International, and the student will receive one.

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Students may have a maximum of two extra copies bound for personal use. Fees for binding the extra copies may be paid for at the Business Office when graduation fees are paid.

AbstractEach copy must include an abstract of not more than 350 words summarizing the research and findings.

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PaperBond paper used for all copies must be 100% rag, twenty-pound weight. All copies submitted to the library for binding may be photocopies.

SignaturesThe student will secure the appropriate faculty signatures on the signature pages of each of the final copies.

DeliveryThe student will deliver the copies of the dissertation or document to the Dean of Libraries for binding. Each copy should be in a separate box with the author’s name on the outside; pages should be checked carefully to be sure that they are in order for binding. The University Microfilm Dissertation Agreement should be signed and delivered with the dissertation along with one extra abstract and abstract title page. The student will need to complete a form in the office of the Dean of Libraries so that the student’s bound copy can be mailed.

All costs for any form of the dissertation or document will be borne by the student, such as the producing of photocopies and securing of performers for recitals.

The student should complete copies of the Survey of Earned Doctorates and, if appropriate, the RILM Abstracts of Music Literature form, and any other similar forms that apply to the particular concentration as supplied by the Academic Secretary.

GRADUATION

The student should consult the Seminary Catalog for general instructions concerning graduation. The student should be aware that

1. an application for graduation must be submitted to the Registrar’s Office at the beginning of the semester of expected graduation

2. all fees must be paid before commencement

3. all books and music must be returned to the library

4. all students must attend commencement rehearsal scheduled for the afternoon of the day preceding commencement

5. a special request must be made with the Registrar’s Office at least sixty days before commencement if the student would like to graduate in absentia

swbts.edu · Web viewA prerequisite for either doctoral degree is a master’s degree from...

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