Bachelor of Music in Choral Conducting Program

A. Fundamentals of Conducting develops the fundamental skills necessary for conducting and score preparation and reading.

B. Principles and Techniques of Choral Conducting 1 continued development of conducting techniques.

C. Principles and Techniques of Choral Conducting 2 use philosophical and theoretical learning to develop a practical approach to choral music instruction.

D. Performance Analysis of Small Choral Works study of selected small choral works, styles and performance practices.

E. Performance Analysis of Work for Children’s Choir practical application of current and developing pedagogy, literature and materials for teaching and conducting a children’s choir.

F. Performance Analysis of Works for Male and Female Chorus practical application of current and developing pedagogy, literature and materials for teaching and conducting a male or a female chorus.

G. Performance Analysis of Philippine Choral Works practical application of current and developing pedagogy, literature, materials for teaching and performance of various Philippine choral works.

H. Performance Analysis of Major (World) Choral Works study of selected major choral works, styles and performance practices.

I. Score Reading a practical and guided approach to reading the musical score and using aural identification and visual discrimination to focus on the outstanding aspects of the score.

J. Choral Arranging a lecture and writing course which introduces the concepts, principles, practices and applications of employing voices and concomitant vocal lines for music performance.

K. Orchestration focusing on the tonal ranges, timbres, capabilities, limitations, technique, dynamic ranges, transpositions, ideal combinations, ideal playing situations, and sensibilities of the families of the orchestra.

L. History of Musical Styles an introduction to and exploration of the different musical styles of Western Music (Baroque, Classical, Romantic, Modern, and Contemporary periods). The course exposes the student to elements, tools, mediums, musical devices. Performance practices of each period are also discussed in detail.

M. Concentration 1-6 an advanced, individualized (1:1) applied tutorial structure within which, in a one hour-per-week session, the student is taught and performs the instrument and the literature in the contexts of historical and regional sound performance practices and styles of this literature.

N. Minor 1-4 a basic, individualized (1:1) applied tutorial structure within which, in a half (0.5) hour-per-week session, the student is taught and performs the instrument and the literature in the contexts of historical and regional sound performance practices and styles of this literature.

Bachelor of Music in Music Education Program

A. Introduction to Music Education the philosophical and psychological foundations of music learning-and-teaching.

B. Music Education Methodologies presenting an activities music methods for working with children.

C. Preparatory School Methods and Practicum study teaching strategies and preparation for practice teaching for preparatory school music effectively.

D. Elementary School Methods and Practicum study teaching strategies and preparation for practice teaching for elementary school music effectively.

E. High School Music Methods and Practicum study teaching strategies and preparation for practice teaching for high school music effectively.

F. Creative Music Procedures for High School by innovating and strategizing learned methods to serve as an aid/tool in teaching to formulate procedural creative music activities in classroom and music performances.

G. Special Education Methods and Practicum techniques and strategies for teaching children with special needs.

H. Culminating Activity the planning, implementing / holding or arranging and taking part in a concert, building the repertoire, composing / making ensemble, and evaluating activity.

I. Instrument Pedagogy and Practicum preparation with individual instrument/ group instruction in pedagogical activity, different teaching approaches, and ways of improving learning for individual students.

J. Research Topics Music Education 1 This course tackles an in-depth definition of research, it's creation, importance and needs. It is delivered through class lectures to discuss it's type and parts; and to choose and identify topics; and drafting the contents of each part.

K. Research Topics Music Education 2 This course is a continuation of Music Research Topics 1. Finalization of parts are discusssed, planned and materialized. Plotting of calendars to the submission of final papers and oral presentation is to be made at this point.

L. Composition considers and explores the elements, tools, and mediums of music creation employed in short forms of the Common Practice Era of Western music and their functionalities.

M. Advance Harmony Advanced chromatic harmony from altered triads, augmented 6th chords, and other harmonic alterations to 2-part counterpoint in 18th century style.

N. Analysis of Band and Orchestral Instruments an applied (performance) course exploration of the literature from different historical periods originally created for ensemble performance practice.

O. Principles of Musicology combines lectures, discussions and the undertaking of research work, all towards the goal of answering, addressing and/or responding to a particular musical need, question, problem or situation.

P. Concentration 1-6 an advanced, individualized (1:1) applied tutorial structure within which, in a one hour-per-week session, the student is taught and performs the instrument and the literature in the contexts of historical and regional (where applicable) sound performance practices and styles of this literature.

Q. Minor 1-4 a basic, individualized (1:1) applied tutorial structure within which, in a half (0.5) hour-per-week session, the student is taught and performs the instrument and the literature in the contexts of historical and regional (where applicable) sound performance practices and styles of this literature.

Bachelor of Music in Piano Program

A. Piano Major 1-8 The course introduces the MPP 110-180-18 series to piano majors by further developing and strengthening their pianistic foundations. Inteindividualized 90- minute classes are held on a weekly basis to ensure the student’s progress.

B. Piano Literature 1 – Baroque An in-depth study of early keyboard and piano literature of the Baroque period. Includes performance and analysis of forms, genres, style, underlying concepts, and exceptional composers.

C. Piano Literature 2 – Classical An in-depth study of representative piano literature of the Classical period. Includes performance and analysis of forms, genres, style, underlying concepts, and exceptional composers.

D. Piano Literature 3 – Romantic An in-depth study of representative piano literature of the Romantic period. Includes performance and analysis of forms, genres, style, underlying concepts, and exceptional composers.

E. Piano Literature 4 - 20th and Beyond: An in-depth study of representative piano literature of the 20th and 21st centuries. Includes performance and analysis of forms, genres, style, underlying concepts, and exceptional composers.

F. Seminar in Piano A series of seminars and performances classes designed to impart miscellaneous but orderly and invaluable lessons ranging from the subject of dealing with various performance pressures - environmental, situational, and psychological factors that may arise during public performance, stage etiquette, mannerisms, and attire, enhanced rehearsal and playing techniques for performance preparation; in addition, performer's health and selfcare to increase student readiness, capacity, and potential for public performance.

G. Piano Ensemble 1 This course intends to develop in the student the ability to play with another instrument (piano), developing a sense of give and take in ensemble playing as well as keenness in tempo and hearing. The first semester will use materials intended for 1 piano (four hands).

H. Piano Ensemble 2 The second part of Piano Ensemble 1, this course intends to develop in the student the ability to play with another instrument (piano), developing a sense of give and take in ensemble playing as well as keenness in tempo and hearing.

I. Chamber Music 1 This course is an applied (performance) course in which a group of instrumental performers (a single person performs a single musical line) performs in the context of small ensemble literature from different historical periods designed for this (one instrumentalist, one line) performance setting.

J. Chamber Music 2 A continuation of the applied (performance) course in which a group of instrumental performers (a single person performs a single musical line) performs in the context of small ensemble.

K. Art of Accompaniment 1 The course introduces the student to the nuances of piano playing as accompanist. The student is taught the differences in accompanying various timbres and qualities of instrumental and vocal sounds together with the development of a keen sense of hearing.

L. Art of Accompaniment 2 Continuation of Art of Accompaniment 2. This course is intended for piano majors.

M. Instrument Pedagogy a course designed to develop a student's pedagogic skills in Vocal Production Techniques for solo performances, including vocalizations development, identifying common vocal problems, and providing solutions in curing common vocal problems.

Bachelor of Music in Voice Program

A. Diction a study of the International Phonetic Alphabet (IPA) and English, Italian, German, French, and Spanish lyric diction.

B. Voice Major 1-8 an intensive progressive applied music course that aims for technical and performance freedom.

C. Italian Repertoire combination of a lecture, discussion and performance classes which deal specifically with songs written in the Italian Language, including representative works in the history of western music.

D. German Repertoire combination of a lecture, discussion and performance classes which deal specifically with songs written in the German Language, including representative works in the history of western music.

E. French Repertoire combination of a lecture/discussion and performance classes which tackles the best songs of French Composers the French Language, including representative works in the history of western music.

F. Filipino Repertoire a survey of the development of Filipino art songs. The pool of Philippine song repertoire will be explored through performance practice research and performance.

G. Opera Workshop 1 intensive experiential course in which students majoring in voice are expected to stage some of the famous operatic scenes in the Baroque and Classical Period.

H. Opera Workshop 2 a comprehensive course that aims to develop each student’s technical and artistic skills on opera performance through historical, literary, and character analysis.

I. Voice Ensemble 1 a guided applied (performance) course in which a group of singers (a single person sings a single vocal line) performs accompanied or a cappella in the course of the exploration of the performance literature from different historical periods.

J. Voice Ensemble 2 second part of Voice Ensemble 1, this is a guided applied (performance) course in which a group of singers (a single person sings a single vocal line) performs accompanied or a cappella in the course of the exploration of the performance literature from different historical periods.

K. Vocal Pedagogy 1 This is a preparatory course for Voice Pedagogy 2 consisting of 2 parts: (1) an overview of vocal physiology and mechanism, and the study of pedagogical approaches, methods, techniques, and trends; and (2) the application in voice practicum teaching.

L. Vocal Pedagogy 2 This is a continuing course on vocal pedagogy designed to develop the learner’s skills on vocal pedagogy through the one-on-one teaching of a young and adult voice student. The course culminates in a recital performance of the student/s of the learner/ s.

M. Basic Acting and Movement This course is divided in 3 parts. The first part is workshop on stage movement and body control practices and exercises. The second part explores various acting techniques and methods. The third part is the practical application of both parts one and two in character building.

N. Physiological Foundation of Singing This course is an advanced vocal pedagogy course that explores, synthesizes, and integrates the science and art of vocal production and vocal health. It consists of the study of the physiology, anatomy and biomechanics of singing.

O. Voice Recital 1 preparation and presentation of the student for a recital consisting of 30 to 45 minutes of performance time, chosen from the music studied in Specialization Instrument courses 1-6.

P. Voice Recital 2 preparation and presentation of the student for a recital consisting of 60 to 75 minutes of performance time, but excluding the music previously chosen for the Junior Recital.

In 2010 the Music Preparatory Program (MPP), a formal, individual instrument lesson program, was established under Prof. Gemma Minna Manalo de Guzman, who is the College of Music Consultant at present. The first MPP instructors were Virna Valerio, Jovita Esquivel, Jesy Elaine Aguilar, Leonila Toytoy, Estelita Salonga, Olynne Tabayoyong, Ligaya Quinitio, Jasper Domingo, Josefina Cornista, and Rod Ramos. During this time Bro. Ernesto Galamay Jr. (Minister of the Gospel), in charge of operations, processed requirements needed to offer a degree program in Music. Information and documents needed, including faculty profiles, curricula and other materials were gathered in order to facilitate the establishment of a College of Music. Under the College of Music, the first program offered was the Bachelor of Music, Major in Music Education, emphasis in Performance, for which CHED received required documents on December 13, 2010. During this time the 1st faculty members of the College of Music were Rod Ramos, Ligaya Quinitio, Estelita Salonga, Olynne Tabayoyong, Edgardo Manguiat, Jovita Esquivel, Roderick Meneses, and Dr. Genesis Rivera.

In 2011 a new program of musical training, preparation, and advancement was offered for the performing musician. This dynamic program featured a myriad of opportunities for the music student to apply learned concepts and training through performance, teaching, research, and composition. It also provided ample leadership opportunities for ensemble building, planning, and presentation.

On March 3, 2011, the Commission on Higher Education (CHED) granted to the College of Music the permit to operate for the first and second year levels of the Bachelor of Music programs, with the College of Music under Dr. Genesis Rivera as Dean. Under successive Dean Rod Ramos, the permit to operate the third year level, including the first and second year levels of the Bachelor of Music programs was granted by CHED to the College on February 14, 2013. On November 17, 2014, the College of Music was visited by the Commission on Higher Education Representative and the Regional Quality Assurance Team (RQAT). Upon inspection, the assigned technical panel announced that the College had successfully met the qualifications and requirements set by CHED. On February 20, 2015, Government Recognition of the Bachelor of Music program (Piano, Voice, Choral Conducting and Music Education) was granted, effective Academic Year 2014-2015. And in May of 2015, at the historic Philippine Arena, the College of Music proudly presented its first batch of graduating students.

At present the College of Music is proud to host annual international competitions in piano and voice, showcasing student talent of the highest caliber from throughout the world. At the heart of this vibrant institution are the shared values upheld by the university, which produces not only world-class musicians, but individuals of highest moral character. In addition to four Bachelor Degree Programs: Piano, Voice, Music Education, and Choral Conducting, the College offers nontertiary courses in the Music Preparatory Extended Studies Program, a certificate course designed to teach and enhance music-making at any musical or age level.

On August 30, 2016, established the College of Music performing groups and the 1st Premiere Concert namely, NEU Chamber Orchestra, NEU Vocal Ensemble, NEU Guitar Ensemble, and NEU Chamber Choir, held at College of Music Recital Hall.

On December 10, 2016 the 1 st INC Piano International Competition, organized by the NEU College of Music and INC Music Department, was held at School for Ministry Audio Visual Room (AVR), with emcees Rod Ramos (College Dean), Prof. Mia Ariana Tanciongco, and Prof. Jesy Elaine Aguilar from the College of Music. In attendance at this inaugural competition was the Executive Minister of the Iglesia Ni Cristo, Bro. Eduardo V. Manalo, together with his family. The Executive Minister, Bro. Eduardo V. Manalo, personally recognized and awarded the competition winners and finalists their victory prizes, much to their delight. Two of the winners were students from the College of Music, namely, Rocky Gendrano (Champion) and Cris Peñaranda (1st Place). Also present were Music Consultant Prof. Gemma Minna Manalo de Guzman and Bro. Antonio T. de Guzman Jr. from the INC Music Department. The esteemed judges of this competition were Mr. Jovianney Emmanuel Cruz (Chair), Professor Augusto Espino, Professor Carolyn Kleiner Cheng, and Professor Richelle Rivera.

On December 9, 2017, the 1 st INC Voice International Competition (the first of its kind for vocal performers of classical music) was held at New Era University Hall, organized by the NEU College of Music and the INC Music Department. The emcees were faculty members from the College of Music Professors Mia Ariana Tanciongco and Jesy Elaine Aguilar. The two principal winners of the inaugural voice competition were students from the College of Music. The judges of the competition were Sandra Moon, an esteemed American soprano, Katherine Frances V. Molina, Chairman of the College of Music Voice Department at the University of the Philippines, Diliman and Mr. Rainier Arthur Pinto Cruz, Assistant Professor of Voice at the University of the Philippines.

At present, the College of Music at New Era University continued to serve as a vehicle for serious students of music to expand their art, and fulfill their potential as teachers and performers. The College seeks to provide every opportunity for the music student to grow and meaningfully experience all they can at this formative and crucial stage of their artistic and intellectual development. By envisioning itself to be the training ground for future musicians committed to excellence in musical performance, pedagogy, research, and scholarship, the college’s overarching aim is to empower students to fulfill such objectives and discover their creative potential in the vast and dynamic field of music - making. Above all, its guiding principle is that all music is for the sacred honor of God, and as such should be developed to the highest degree in all of its students.