School of Music Faculty Evaluation Policy

Each faculty member’s allocation of effort is set at the time of hiring and, in exceptional circumstances, may be re-negotiated with the Dean and Department Chair. The evaluation of all faculty members is simplified when the standard allocations of effort are maintained as much as possible.

Tenured and tenure-track faculty normally adhere to the University's Differential Allocation of Effort policy of 40% teaching, 40% research (including creative work), and 20% service. Tenured and tenure-track faculty must have a portion of their effort allocated in each of these three categories. Full-time non-tenure-track faculty are appointed as Professors of the Practice and, per the Professor of the Practice policy, have responsibilities including teaching and service, but not research; it is expected that Professors of the Practice have significantly heavier teaching and service loads than those of tenured and tenure-track faculty.

Faculty members who have an administrative allocation will have their teaching, research, and service evaluated by the Faculty Evaluation Committee; their administrative work will be evaluated by the Dean.

Standards for Acceptable Performance

In accordance with the Faculty Code of Rights, Responsibilities, and Conduct, each faculty member is expected to meet their academic responsibilities at an acceptable level in all areas of their allocation of effort, including the “Additional Faculty Responsibilities” identified in the Faculty Code.

A faculty member whose evaluation indicates that their work in one or more areas is not at an acceptable level shall be placed on an improvement plan by their Department Chair. The specific details of the faculty improvement plan will be developed in collaboration between the faculty member and the Department Chair, in adherence to applicable University policies such as the Faculty Code of Rights, Responsibilities, and Conduct, the Faculty Evaluation Policy for Tenure-Track and Tenured Faculty Members and the Faculty Senate Rules and Regulations.

Criteria for Faculty Evaluation Procedures

Overview

Recommendations for Annual Faculty Evaluation, Promotion & Tenure, Post-Tenure Review, and Non-Tenure Track Faculty Evaluation Procedures shall be based on the record of the faculty member in teaching, research (including creative work), and service.

The School expects that every member of the faculty will excel in teaching. All faculty must demonstrate enthusiasm for teaching, dedication to continuous improvement in their teaching, and the ability to stimulate students to achieve at the highest level possible.

Research may include any of a wide variety of activities, depending upon the field of specialization and the interests of the faculty member. The School expects that every faculty member whose allocation of effort includes research will pursue research and professional activities appropriate to their field of specialization. The School expects that tenured and tenure-track faculty will achieve national, and perhaps international, recognition among their peers in one or more such fields of activity.

Service refers to activities that utilize the professional expertise of the faculty member. The School expects that every faculty member whose allocation of effort includes service will render appropriate service to the School, the University, their profession, and the community at large.

The School does not expect that a faculty member will engage in all of the activities listed in each of the following categories. Nor does the School expect that a faculty member will be equally active in each of the three categories. The quality of the contributions is of greater importance than the quantity. Prestige and/or scope are important contributing factors in determining the significance of the faculty member’s work.

Criteria for Teaching

Faculty must demonstrate their commitment to excellent teaching in one or more of the following ways:

• the courses that are a part of their teaching load
• advising and mentoring of students
• GTA supervision
• educational outreach events and student recruiting
• record of student accomplishments

Criteria for Research

Faculty must demonstrate a record of productivity in research and creative work. Faculty members are not limited only to research activities listed below for their primary discipline. Many faculty members perform, write, edit, compose, publish, consult, record, and participate in a wide variety of professional activities. While such breadth of activity is encouraged, each faculty member’s primary efforts should be directed toward those activities in the area of their appointment.

In assessing research during the Annual Faculty Evaluation, Progress Toward Tenure Review, and Promotion & Tenure processes, the School requires research accomplishments to be classified as major or minor. The distinction between major and minor is generally defined by impact and audience, as appropriate for each field of research and creative activity. Such distinctions are independent of the physical location of the work; this includes treating digital publication, distribution, and presentation as equivalent to traditional media unless explicitly excluded by an area.

Examples of Major and Minor Research Accomplishments

Composition

• For composers:

1. commissions, performances, or publication (including print, digital, and/or audio or video recordings, and software development) of musical compositions, installations or arrangements;
2. publication of books, articles, reviews, chapters in books, monographs, or substantial electronic media (including media scoring);
3. presenting papers, speaking, or participating on panels in meetings of professional societies, or performing arts organizations.

• General considerations
  • One must consider many variable and subjective factors when evaluating the artistic merits of a musical composition.
  • Within the field of composition, it is generally understood that the prestige of creative work is tied to the prestige of venue and performer instead of to the categories of invited or peer-reviewed status. Both, however, may be considered. Calls for scores, competitions and conferences typically receive many hundreds of applications, and as such are less reliable as means of measuring scope and impact than in some other fields.
  • The following objective criteria should usually be considered when ranking works as having greater or lesser significance.
• Major
  • A work or arrangement of major proportion, including performance length and artistic merit, in any medium that requires substantial creative time and effort by the composer.
  • A commission for a major work in any medium by a respected and well-known performance ensemble, conductor, or individual performer.
  • Publication and/or recording of a major work.
  • An awarded research grant for composition from a significant foundation or agency.
  • A successful entry in a national or international, impartially adjudicated composition contest.
  • A performance of the composer's work(s) at a regional, national, or international meeting of a professional society or performing arts organization.

• Minor
  • A work or arrangement of smaller proportion or of lesser difficulty, requiring less time and creative effort to complete.
  • Composing original incidental music of smaller proportion or writing an arrangement for a local university event.
  • Publication and/or recording of a minor work, arrangement or transcription.
    • Especially in the field of jazz or commercial music, arranging is, at its most professional level, a reconstruction and, oftentimes, a total transformation of an existing melody and/or harmonic progression. As much creativity can be involved in this process as in the majority of original composition.
    • Transcribing is a process whereby one transliterates as closely as possible existing music by another composer, or, more rarely, one's own composition, from one performing medium to another. This process requires careful craftsmanship, knowledgeable taste, and considerable skills as an orchestrator, but it does not normally require the proportional amount of creativity involved in arranging.

Music Education and Music Therapy

In assessing research during the annual faculty evaluation process, progress toward tenure review, and when a faculty member applies for promotion and tenure, it is necessary to classify research accomplishments as major or minor. The following criteria are to assist the faculty member in making that determination.

• Major 
  • Author, editor, or translator of a book or book chapter.
  • Author of a peer-reviewed journal article.
  • Invited residencies for teaching, research, clinical, or creative work.
  • Large-scale interdisciplinary projects.
  • Peer-reviewed presentations at an international, national, or regional conference or symposium, including online presentations.
  • Peer-reviewed research poster presentations at an international, national, or regional conference or symposium, including online research poster presentations.
  • Invited presentation at an international, national, or regional conference, organization or agency (e.g., keynote speakers, webinar panelist).
  • Lead or co-facilitator of a long-form (greater than three hours) presentation such as continuing education workshops.
  • Research grant from a national or international foundation or agency.
  • Invited appearances with professional ensembles or tours, significant venues, ensembles at other universities, or all-state festivals. 
• Minor
  • Author for book review, note, short report, or opinion piece in a periodical.
  • Author for article in a non-peer reviewed journal or similar informational publication.
  • Presentations at a local organization, event, or conference, or non-peer reviewed presentations at a regional organization, event, or conference, including online presentations.
  • Funding from regional, local, or internal sources.
  • Performances as a guest conductor with public school music groups and regional music festivals.
  • Performances with university ensembles at local and regional off-campus events.
  • Guest conducting university ensembles.
  • Collaborative performances in an informal setting.
  • Performances as a member of a community or semi-professional ensemble.

Music Theory

• Major
  • Author, editor, or translator of a book, chapter, critical/performing edition, article, or digital publication.
  • Presentation at a national or international conference.
  • Presentation as an invited keynote speaker.
  • Receiving a research grant from a national or international foundation or agency.
  • Invited residencies for teaching, research, clinical, or creative work
• Minor
  • Author of a book review, concert review, recording review, or similar publication.
  • Author of a note, short report, encyclopedia entry, or opinion piece in a periodical.
  • Presentation at a local or regional organization, event, or conference, including online presentations.
  • Any research or creative activity as defined by the Composition Area

Musicology

• Major
  • Author, editor, or translator of a book, chapter, critical/performing edition, or article.
  • Presentation at a national or international conference including online presentations.
  • Presentation as an invited keynote speaker.
  • Receiving a research grant from a national or international foundation or agency.
  • Invited residencies for teaching, research, clinical, or creative work.
  • Awards or recognitions from a national or international organization.
• Minor
  • Author of a book review, concert review, recording review, or similar publication.
  • Author of a note, short report, or opinion piece in a periodical.
  • Presentation at a local or regional organization, event, or conference, including online presentations.
  • Awards or recognitions from a local or regional organization.

Performance — Conducting

• Major

• Participation in regional, national, or international competitions, conferences, and performances with high reputation; the level of the ensemble may also be a factor in this consideration (example, the non-premier ensemble in the School of Music performing at a regional conference of a professional organization or honor groups of exceptional quality).
• Collaborations with esteemed artists.
• Professional recordings, published compositions, arrangements, transcriptions, or written contributions with significant distribution in the profession.
• Service as a conductor, presenter, adjudicator, clinician, or keynote speaker for professional organizations or festivals at the regional, national, or international level.
• Service as a guest clinician or guest artist at an institution of higher education
• Service as editor for music publishing companies at the national or international level.
• Conducting reading sessions at the regional or national level.
• Service as a guest/cover conductor with nationally/internationally recognized professional ensembles, guest conducting nationally or internationally recognized colleges or universities, all-state, or honor ensembles.
• Performance of premieres or interdisciplinary projects with university ensembles.
• Other activity that provides exposure at the national or international level; this may include composition, marching band drill-design, or other work typical for the field. In some cases, the scope and volume of work may be considered.

•  Minor

• Standard brief performances with university ensembles at campus, local, and regional events.
• Performances as guest conductor with public school groups and regional music festivals.
• Service as conductor on a recital with other faculty members, such as conducting a large chamber work.
• Service as a guest clinician, adjudicator, or conductor at a regional music/conducting workshop.
• Presentations for professional organizations at the local or state level.
• Conducting reading sessions at the local or state level.
• Op-ed columns in professional publications at the state, regional, or national level.
• Serving as an editor for minor publications (local or regional level).

Performance — Band & Orchestral Instruments

• Major
  • Solo performance with a recognized entity (i.e. orchestra, opera company, chamber music festival, concert series, important venue, TV or radio program). This includes concerto or solo performance with a large ensemble at the local, regional, national or international level.
  • Performance with ICSOM-level (International Conference of Symphony and Opera Musicians; a “major” Orchestra, i.e. Kansas City Symphony, Seattle Symphony, Seoul Philharmonic, Kansas City Chamber Orchestra, Kraków Philharmonic, etc.), ROPA-level (Regional Orchestra Players Association; a “regional” Orchestra, i.e. Wichita Symphony, Des Moines Symphony, Michigan Opera, etc.), or equivalent large or chamber ensemble; performance with competition-level (or ranked) brass band (i.e. Brass Band of Battle Creek, Fountain City Brass Band), armed forces service band; large ensemble service at a national or international convention, etc.
  • Selected to perform, tour, and/or record with a nationally recognized ensemble, Broadway company, or “name” artist. This could be in conjunction with an established large ensemble (see bullet point #2 above)
  • Invited for a performance, masterclass, appearance, symposium or residency at a significant festival or institution
  • Invited performances or presentations at regional, national and international conferences commensurate to the particular assignment/specialization and assigned ensemble (i.e. performance with International Clarinet Festival Orchestra; performance/presentation/clinic at International Trumpet Guild, American Trombone Workshop, Midwest Band and Orchestra Festival, Utah Music Educators Association, Michigan Bandmasters Association, etc.).
  • Release and/or publication of artistically significant recordings and podcasts released to the public in an appropriate format – this could be via CD or other recognized major digital platforms such as Spotify, YouTube, Apple Music, etc.
  • Premiere a new major composition or arrangement
  • Soloist/principal performer in KU faculty recital
  • Guest artist collaborations with KU ensembles that exhibit significant activity above and beyond normal guest artist appearances, this includes concertos
  • Organize/host a premier professional music symposium, conference, or institute
  • Publish a book through a reputable publishing house or self-publish a book with recognition
  • Publish research of international importance or distinction
  • Publish a featured article or book chapter in a peer-reviewed journal, magazine, or edited volume
  • Favorably reviewed major grant application, or awarded a major grant or fellowship for the life of the grant
  • Granted an award for exceptional research or creative activity
  • Spearheading a major research agenda of proven significance in the field. This includes citations, websites, multi-disciplinary research projects, and inclusion on research agendas of significant scope.
  • Headlining “instrument” days – KU Brass Day, KU Clarinet Day, University of Nebraska Single Reed Day, etc.
  • Participation as an invited faculty member or artist in residence at a regional, national, or international summer program or summer festival
  • Invited research residencies through a peer reviewed application/proposal
• Minor
  • Solo, chamber, large ensemble, and/or opera performance with a minor or ad hoc ensemble
  • KU Faculty Recital participant
  • Masterclass or symposium of a lesser scope with an external organization or institution
  • Lecture or presentation with a local/more minor scope with an external organization/institution
  • Publish minor articles or a book/recording review
  • Awarded minor grants (i.e. GRF, although the resultant research would certainly be considered of higher merit (i.e. recording project completed, etc.)

Performance — Organ & Church Music

• Major
  • Performing a recital in a major venue in the US or abroad.
  • Being invited as a guest lecturer/teacher to a university in the US or abroad.
  • Being invited to judge in an organ competition at the national or international level.
  • Publishing a research article on a topic related to organ or church music in a national or international journal.
  • Publishing a book.
  • Making a professional recording that is widely distributed.
  • Playing a solo faculty recital.
• Minor
  • Publishing a short op-ed for the AGO journal or similar.
  • Lecturing at a local venue.
  • Acting as a judge for a local competition.

Performance — Carillon

• Major
  • Summer carillon performances at the World War II Memorial Campanile.
  • Performing a recital at a major venue.
  • Serving as guest artist or clinician at a major venue.
  • Publishing a book or a chapter in a book.
  • Publishing an article in a national or international journal.
  • Making a professional recording/video that is widely distributed.
  • Creating a composition, arrangement, or transcription that requires substantial time and creative effort.
  • Publishing a major work.
  • Performance of a composition, arrangement, or transcription at a major venue. 
  • Funding from a national or international foundation or agency. 
  • Collaborative performance in a formal setting.
  • Performance as a member of a faculty ensemble. 
• Minor
  • Weekly carillon performances at the World War II Memorial Campanile during the academic year.
  • Performing a recital in venue with lesser status.
  • Lecturing/teaching at a local venue.
  • Publishing an article in national or international newsletter. 
  • Creating a composition, arrangement, or transcription that requires less time and creative effort.
  • Publishing a minor work.
  • Performance of a composition, arrangement, or transcription at a venue with lesser status.
  • Funding from regional, local, or internal sources.
  • Collaborative performance in an informal setting.
  • Performance as a member of a community or semi-professional ensemble. 

Performance — Piano

• Major
  • Public performance—Performance Faculty: A sustained, high-level performing career is often the most critical expectation. This includes solo recitals; chamber music collaborations and concerto appearances. Additionally, radio broadcasts, television appearances and press coverage, both nationally and internationally are of equal importance.
  • Public performance—Pedagogy Faculty:  Public performance is expected at local, regional and national levels. Performances may include chamber music; collaborative piano; lecture recitals; pedagogy-focus recitals; and solo performances.
  • Recording: Publication of a recording in which the faculty member performs as the soloist, ensemble member, conductor, or collaborator for the majority of the recording. These recordings may be made available in CD form; on a streaming platform, or on a website.
  • Collaborative piano: For faculty specializing as collaborative pianists, expectations include a record of performances with instrumentalists, vocalists and chamber ensembles, nationally and internationally.
  • Guest Engagements/Professional Recognition/Presentations: In addition to performing and recording, of equal importance include invitations to present master classes, workshops and lecture demonstrations. It also includes adjudicating at the local, national and international levels and serving as an examiner for music exams, podcasts and webcasting.
  • Scholarly and pedagogical research:
    • Publications:/Pedagogical Research: Faculty are expected to contribute to the profession through scholarly and pedagogical research. This may include publication of peer-or editor-reviewed journal articles, books, book chapters, pedagogical materials, educational publications ,or edited volumes that advance the field.
    • Presentations: Presenting research at professional conferences, such as those held by the College Music Society or the Music Teachers National Association, is also expected. This may include talks, panels, lecture demonstrations for public or professional groups, such as MTNA and CMS; presentations at conferences; development of grant proposals funded by national or international sources
• Minor
  • This could include smaller chamber recitals, ensembles, or performances with an ad hoc ensemble on a smaller scale.
  • Performing/participating in a KU SOM faculty recital.
  • A focused masterclass or symposium organized in partnership with an external organization or institution.
  • Lecture/presentation with a local/more minor scope for an external organization/institution.

Performance — Voice & Opera

• Major
  • Leading roles in nationally or internationally recognized opera companies or festivals.
  • Solo performances with professional symphonies, opera companies, or on major recital series.
  • Commercial recordings on respected labels (e.g., Naxos, MSR, Albany, etc.).
  • Commissioning and premiering new works at significant venues or festivals.
  • Winning major national/international awards.
  • Significant critical reviews in reputable publications (Opera News, New York Times, Gramophone, etc.).
  • Securing competitive external grants or fellowships (Fulbright, NEA, Guggenheim, etc.).
  • Publication of peer-reviewed research in top journals (e.g., Journal of Singing, Opera Quarterly).
  • Invited keynote lectures, residencies, or masterclasses at internationally recognized institutions.
  • Artistic direction of award-winning productions at the national/international level (NOA, The American Prize, etc.).
  • Participation in conferences (performing, presenting, or adjudicating).
  • Publishing pedagogy research in peer-reviewed venues and publications.
  • Adjudicating competitions at the regional/national level.
  • Presenting at a regional/national conference (NATS, KMEA, etc)
• Minor
  • Regional or local professional opera/recital performances.
  • Performances with university ensembles or regional orchestras.
  • Recording projects or collaborations with limited distribution.
  • Internal university grants or small project awards.
  • Contributions to newsletters, blogs, or non-peer-reviewed publications.
  • Presenting masterclasses at regional or smaller institutions.
  • Serving as a competition adjudicator at the state/regional level.

Criteria for Service

School of Music faculty are expected to fulfill service roles in one or more of the following areas:

• to their area and department,
• to the School,
• to the University,
• to their profession,
• to the community at large.