A Music degree from Western Washington University is highly regarded in the profession. Western graduates become successful teachers, performers, composers and leaders in all fields of music. The strength of Western’s Department of Music is its faculty’s commitment to students and helping them achieve their goals and aspirations.
The Department of Music also encourages and promotes participation from those students whose academic interests lie outside the arts, yet who have the talent and the dedication to succeed in our department. With more than five hundred students participating in our music program, there are opportunities for performance and academic study at many levels of involvement.
Explorations in early, traditional, contemporary, jazz and electronic music exist in the various course activities and degree plans with the emphasis always on dealing directly with the musical art through performance, composition and analysis.
The Department of Music offers one general and four professional undergraduate programs leading to baccalaureate degrees in music. The general program (BA) provides a liberal arts education with music as the major subject. The four professional undergraduate programs (BMus) emphasize the development of proficiency in the major area: music education, performance, history and literature, and composition. The BMus in Music Education has three areas of emphasis: P-12 general music, P-12 instrumental music, and P-12 choral music. State certification to teach is received concurrently with the granting of the degree.
A variety of large and small ensembles and music courses are open to all qualified students of the University, regardless of major. The ensembles include: University Choir, Concert Choir, Symphonic Band, Wind Symphony, University Symphony Orchestra, Jazz Ensembles, Chamber Music (in all instruments and voice), Collegium Musicum, and Opera Theatre. All music ensembles present public programs throughout the year, and several ensembles participate in annual tours. Music courses open to all students in the University include: The Art of Listening to Music, Fundamentals of Music, Pop and Rock Music Survey, Intro to Country Music, Intro to Hip-Hop, and the History of Jazz, among others.
Advisement (please read carefully)
The Department of Music provides individual advisement and program planning for all students majoring in music. This takes place during the registration period. The department provides advisement by appointment. Many students prefer to spend a day on campus prior to transfer, at which time they may receive advisement, visit the various departmental performance groups and classes, and meet with instructors. Interested students should follow the guidelines set forth in the Music section of this catalog prior to contacting the department. Write or phone the Department of Music, Western Washington University, Bellingham, Washington 98225-9107, phone 360-650-3130 or visit the Website, cfpa.wwu.edu/music.
The department is a full member of the National Association of Schools of Music.
CHRISTOPHER BIANCO (2006) Chair and Associate Professor. BME, Northwestern University; MM, University of Montana; DMA, the University of Texas-Austin.
AMBER SUDDUTH BONE (2006) Assistant Professor. BM, University of Hawaii; Ed. Cert., MM, DMA, University of Washington.
PATRICIA BOURNE (2012) Associate Professor. BME, Murray State University; MME, University of Oklahoma; Ed. D, Arizona State University
ROGER D. BRIGGS (1989) Professor. BM, Memphis State; MM, PhD, Eastman School of Music.
GUSTAVO CAMACHO (2014) Assistant Professor. BME, New Mexico State University; MM and DMA, Arizona State University.
GRANT DONNELLAN (2000) Professor. BM, Oberlin Conservatory; MM, Yale University.
RYAN K. DUDENBOSTEL (2014) Assistant Professor. BM, Western Washington University; MM, University of Missouri-Kansas City; DMA UCLA.
DAVID FEINGOLD (1980) Associate Professor. BA, Sarah Lawrence College; MA, Western Washington University.
TIMOTHY FITZPATRICK (2006) Associate Professor BM, Western Washington University; MM, University of Texas-Austin; MM, Western Washington University.
JOHN FRIESEN (1998) Professor. BMus, University of British Columbia; MMus, Julliard; DMA, University of Southern California.
JEFFREY GILLIAM (1992) Professor. BMus, Eastman School of Music; MMus, University of Michigan.
LESLIE GUELKER-CONE (1995) Professor. BA, California State University, Stanislaus; MA, San Jose State University; DMA, University of Colorado, Boulder.
BRUCE HAMILTON (2002) Associate Professor. BM, MM, DM, Indiana University.
MILICA JELACA JOVANOVIC (2004) Associate Professor. BMUS, University of Belgrade; DMA, University of Michigan; MM, Moscow Tchaikovsky Conservatory; PhD, University of Michigan.
PATRICK ROULET (1994-2004; 2014) Assistant Professor. BM University of Michigan; MM Boston University; DMA, University of Washington.
WALTER SCHWEDE (1997) Associate Professor. BM, University of Michigan, MM, Catholic University.
LESLEY SOMMER (1997) Associate Professor. BM, MM, DM, Indiana University.
BERTIL H. VAN BOER (1996) Professor. AB, University of California, Berkeley; MA, University of Oregon; PhD, Uppsala University.
KEVIN WOODS (2015) Assistant Professor. BA, Western Washington University; MM, University of Colorado-Boulder.
Affiliate Music Faculty
HOLLY ALCORN, Voice
ERIKA BLOCK, Clarinet
LAURA CAMACHO, Music Appreciation
GREGORY COX, Trombone
MARK DAVIES, Voice
HEATHER DUDENBOSTEL, Voice
VINCE GREEN, Trumpet
ERIC KEAN, Viola
LISA McCARTHY, Flute
BEN MUSA, Double Bass
FRANCINE PETERSON, Bassoon
MELISSA PLAGEMANN, Voice
MICHAEL REFVEM, Accompanist
RACHEL ROULET, Accompanist
JAY ROZENDAAL, Voice
CARLA J. RUTSCHMAN, Tuba
LUCAS SENGER, Online Hip Hop
AMY SMART, Online Country Music
TODD SMITH, Music History
ZACHARY SMITH, Instrumental Music Education
MICHELLE STRANGES, Keyboard Technician
JENNIFER WEEKS, Oboe
KATHRYN WELD, Voice
JILL WHITMAN, Harp
JEANETTE WICKELL, Online World Music
JUDITH WIDRIG, Piano
FRED WINKLER, Saxophone
Due to the sequential nature of the music curriculum, midyear applications are not recommended. Students electing to begin in a quarter other than fall should seek advisement prior to enrollment.
Other Departmental Information
All students in Bachelor of Music degree programs must be members of a major performing ensemble each quarter of residence except in those quarters in which music education majors are enrolled in student teaching and those quarters in which piano majors are enrolled in accompanying. The requirement must be met through the student’s major instrument or voice as follows: Symphonic Band or Wind Symphony for wind/percussion players, University Choir or Concert Choir for vocalists, and Symphony Orchestra for string players. Pianists and guitarists may elect to participate in any of the major performing ensembles for which they are qualified.
Pianists will take a combination of Major Performance Ensemble and Piano Accompanying as follows:
- Performance: Three quarters of major ensemble, remaining quarters in piano accompanying.
- Composition and History/Literature: six quarters of major ensemble, three quarters of piano accompanying, remaining quarters either major ensemble or piano accompanying.
- Music Education: six quarters of major ensemble, remaining quarters piano accompanying.
- Bachelor of Arts in Music majors will take three quarters of major performance ensemble and three quarters of accompanying.
Guitarists majoring in music performance may, under advisement, substitute up to 12 additional credits in chamber music for this requirement. Performance ensembles may be repeated for credit.
Applied Performance Proficiency
All entering music students will be expected to demonstrate their performance proficiency before a faculty committee to determine their admissibility as music majors. This qualifying audition will be held on announced dates prior to the start of fall, winter and spring quarter classes and on any day school is in session by prior appointment. Audition deadlines are as follows:
Fall quarter — June 1
Winter quarter — December 1
Spring quarter — March 1
Freshman and transfer students with marginal qualifications may be placed on probation at the beginning of their first quarter of study and will be re-examined at the end of the quarter. A student who fails to have probationary status removed at the end of two consecutive quarters may be removed from the major, continued applied instruction and admissibility to restricted classes. Music minors wishing to include applied instruction as part of the elective credits for the minor must perform an audition in accordance with the listed levels of proficiency. All students receiving applied instruction, with the exception of guitar and piano, must audition for placement in the appropriate major performing ensemble. Applied music may be repeated for credit. Students must complete the audition process in order to be eligible for music advising.
Minimum applied performance proficiency levels required for entrance to private applied music study are as follows. This list of repertoire is intended to characterize acceptable standards for full admittance and entrance to the major, with the permission of the appropriate area coordinator. Please contact the music department adviser at 360-650-4091 for details. However, at the entrance audition, the entering music student may play or sing musical selections other than those listed below.
Piano: Baroque, Classical, Romantic and contemporary literature at the level of difficulty or greater than: Bach, “Short Preludes” & “Inventions”; Clementi, Haydn, Mozart & Beethoven “Sonatinas”; Bartok “Mikrokosmos” Books 3 & 4. Three pieces of different style periods, all from memory. Sight-reading required.
Violin: Scales, either three or four octaves at a moderate tempo, six to eight notes per bow. Arpeggios, three or four octave, both minor and major, three notes per bow. Etudes: any of the etudes/caprices of Kreutzer, Rode, Fiorillo, Dont (op. 35) Gavinies, Paganini, Wieniawski (opus 10) or Ernst. One movement of a Solo Sonata or Partita, of J.S. Bach, and either a movement of any of the major concertos, Beethoven, Brahms, Mendelssohn, Saint-Saens, Tchaikovsky, et al, or, a virtuoso work such as Havanaise-Introduction and Rondo Capriciosso of Saint-Saens, Polonaise Brillante of Wieniawski, Zapateado of Sarasate, or Tzigane by Ravel, et al.
Viola: 3 octave scale of your choice. 1 movement of Bach Solo Suite. 1 movement of a Sonata (by Brahms/Clarke/Schubert etc.) or Concerto (by Walton, Bartok, Hindemith, Stamitz, etc.) demonstrating your current level of musicality and technique.
Cello: 3 or 4 octave scales. Etude by Popper or similar. Two contrasting works from different stylistic periods. Eg. Bach Solo Suite and Sonata (by Brahms/Grieg/Shostakovich etc.) or Concerto (by Saint-Saens, Lalo, Dvorak, Haydn, etc.) or shorter concert work is also acceptable.
Double Bass: 1 etude from Nanny’s “Complete Methods” book 1 OR solo of candidate’s choice. Two contrasting orchestral excerpts (1 Mozart). Scales through half, 1st & 2nd positions.
Guitar, Classical: Scales-two octaves, any key (I and m), major and minor; Reading-easy pieces through 5th position; prepare two contrasting pieces from “Solo Guitar Playing” Book 1 (Noad) or “100 Graded Studies” (Noad).
Guitar, Jazz: Scales - two octaves, major and minor, alternate picking; reading - melodic through and including 5th position, ability to read a chord “chart”; prepare two contrasting tunes from a fake book, both melody and chords; be able to solo over basic chord changes, i.e., blues changes.
Harp: Two pieces of different style, memorized, such as Handel Concerto in B-flat, Haydn Theme & Variations, Pescetti C Major Sonata, Pierne Impromptu Caprice, Debussy First Arabesque, selections from Suite of Eight Dances by Salzedo. Major and melodic minor scales. Sightreading.
Flute: Two contrasting etudes from “Melodious and Progressive Studies”, Book one, revised by Robert Cavally. Flute solo of choice (e.g., Telemann Sonata, Faure Fantaisie, Mozart Concerto in D, Hindemith Sonata, etc.).
Oboe: Any study from the Barret Oboe Method or the 48 Ferling Studies. Oboe solo of choice (e.g., Albinoni Concerto in d minor, Britten Six Metamorphoses after Ovid, Cimarosa Concerto in C, Nielsen Two Fantasy Pieces, Vaughan Williams Concerto, etc.).
Clarinet: Two contrasting etudes from “32 Studies” by Cyrille Rose. One movement from a work for clarinet and piano (e.g., Hindemith Sonata, Saint-Saens Sonata, Poulenc Sonata, etc.). One movement from a work for clarinet alone (e.g., Stravinsky “3 Pieces”, Osborne “Rhapsody”, etc.).
Bassoon: Two Weissenborn or Advanced Rubank etudes. Movements from any of the Galliard Six Sonatas for Bassoon or any Baroque Sonata.
Saxophone: Two studies from Ferling 48 Famous Studies, Rubank Selected Studies, Klose 25 Exercises or Niehaus Jazz Studies. Saxophone solo of choice (e.g., Glazounov Concerto, Ibert Concertino da Camera, Villa-Lobos Fantasia, Bozza Aria, Ibert Aria, etc.).
Horn: First or Third movement from any Mozart or Strauss Horn Concerto OR One recital solo such as Dukas “Villanelle”, Hindemith “Sonata”, Saint-Saens “Morceau de Concert”, or Beethoven “Sonata for Horn”, One technical etude from Kopprasch “60 Selected Studies”, Major and minor scales and arpeggios through four sharps and four flats (two octaves when possible), Sightreading may be requested at the audition
Trumpet: One or two études from “34 Studies” by Brandt, edited by Nagel. Haydn “Concerto” (first and second movements), or Vidal “Concertino” or Thome “Fantasy in Eb” or Corelli “Sonata VIII,” edited by Fitzgerald. Major and minor scales and arpeggios through four sharps and four flats (two octaves when possible).
Tenor/Bass Trombone & Euphonium: Two or three studies from “Melodious Études” by Rochut, Book I (bass trombone should play one octave lower where feasible), Studies one through ten of the Blazhevich Clef Studies. Five selected studies from the Arban Method, Book 1, Major and minor scales and arpeggios through four sharps and four flats (two octaves when possible), Sightreading may be requested at the audition
Tuba: Any two of the first four solos in “Solos for the Tuba Player” by Wekselblatt. First 10 studies from the “Studies for BB♭ Tuba” by Tyrell, Major and minor scales through four sharps and four flats (two octaves when possible, Sightreading may be requested at the audition
Percussion: On entering, percussion students should demonstrate proficiency in snare drum, timpani, and keyboard percussion, and have some experience and ability on drum set and accessory instruments (bass drum, cymbals, tambourine, etc.).
- Snare Drum: The 40 Percussive Arts Society snare drum rudiments, a concert and a rudimental style etude or solo.
- Timpani: Demonstrate the ability to tune various intervals and perform an etude or solo using four drums.
- Keyboard Percussion (Marimba, Vibraphone, Xylophone): Major and minor scales and arpeggios through 4 sharps and 4 flats (2 octaves), an etude or solo utilizing two and/or four mallet techniques.
- Drum Set (optional): Demonstrate knowledge of various contemporary styles (Jazz, Rock, Latin) and the ability to maintain a steady pulse.
Voice: 2 songs of contrasting styles from the classical or folk song repertoires. At least one song in a language other than English is recommended, i.e. Italian, German or French art song or aria (memorization required). An accompanist will be provided
Composition Portfolio — Students interested in pursuing a BMus in composition must schedule an interview with Dr. Roger Briggs, director of composition. Students should schedule their composition interview for the same day they schedule their entrance audition in their major instrument/voice.
Academic Progress Policy
A minimum GPA of 2.5 in music courses is required for graduation with a degree in music. Students must complete the basic music theory sequence (MUS 222, 224) with an average of B- or better to continue on to upper-division theory and history courses. Specific requirements for admission into the various BMus degree programs can be obtained from the appropriate area coordinator or the undergraduate advisor.
Each student enrolled in private lessons (MUS 212-216, 312-316, or 412-416) will be required to perform a jury 2 quarters each academic year to monitor progress. Successfully performing an upper-division jury is required to pass into 300-level and 400-level lessons from 200-level. Passing an upper-division jury is only required to pass into upper-division applied instruction; completing an upper-division jury is not required to take upper-division academic courses although pre-requisites still apply.
Advancement will be based on the student’s readiness to meet the particular vocal/instrumental, musical, and academic requirements for each level as stated in each area’s policy statement. BMus students who have not been advanced to upper-division status by the end of their third year at Western will be required to meet with the appropriate area coordinator and advisor regarding timely progress.
Theory, Aural Skills, and Keyboard Skills Placement Examinations - Transfers
All students transferring to Western who have completed at least one quarter of college-level theory, aural skills, or keyboard skills will take, prior to enrollment, a Theory Placement Examination, an Aural Skills Placement Examination, and/or a Keyboard Skills Examination. These examinations are evaluative instruments; the results are advisory only. Students may repeat theory and/or aural skills/keyboard skills courses previously taken elsewhere. All credit received in theory, aural skills, and keyboard skills previously at other institutions will be transferred at the level for which it was earned and may apply toward fulfillment of the requirements for the major in music or in music education.
History Placement Examination - Transfers
Students with upper-division music history credit (300 level or above) must take a history placement examination to determine what history courses remain to be taken.
All students in Bachelor of Music programs will successfully complete a Keyboard Competency Examination. Those students commencing their music theory studies at Western will complete this requirement as part of the two-year music theory and aural skills/keyboard skills sequence.
Students transferring to Western with one or more quarters of music theory, aural skills, or keyboard skills will complete the requirement either by: 1) completing the remaining quarters of the theory and aural skills/keyboard skills sequence; or 2) taking the Keyboard Competency Examination. The appropriate course of action will be determined by the results of the Placement Examinations.
Students in the BMus degree programs will be required to take the Keyboard Competency Examination by the end of the sophomore year or, in the case of transfer students, after three quarters of full-time study.
In addition to general University scholarships, several awards are available from off-campus music organizations through The Western Foundation. Scholarship awards to incoming music majors will be based upon quality of entrance audition. For further information, please call the music advisor, PAC 263, at 360-650-4091 or refer to cfpa.wwu.edu/music.
All music majors will register for MUS 099, Concert Attendance (0 credits, S/U grading) each quarter in residence. Programs or ticket stubs from a minimum of eight approved concerts/recitals must be submitted each quarter to receive a satisfactory grade. For further information please call the music adviser at 360-650-4091.
All undergraduate music majors are assigned to the departmental undergraduate program advisor for scheduling and program approval.
Bachelor of Music
To complete the Bachelor of Music degree requirements, it may be necessary for the student to take more than the usual 180 credit hours. Students should anticipate that these programs may require more than four years.
ProgramsUndergraduate MajorUndergraduate MinorGraduate
Courses numbered X37; X97; 300, 400, 500 are described in the University Academic Policies section of this catalog.Page: 1