APPENDIX A

School of Music Tenure & Promotion Guidelines

Approved by the faculty September 2023

I. Introduction
II. Before Tenure
III. Overview of the Mid-Tenure Review Process
IV. Overview of the Application Process for Tenure and Promotion
V. Promotion: Associate to Full Professor 
VI. Overview of the Application Process for Promotion to Associate Professor of Practice
VII. Creative Activity & Research Guidelines
        a. Applied Music
        b. Music Business
        c. Recording Technology
        d. Musicology, Theorists, & Composer-Theorists
        e. Music Education & Music Therapy
        f.  Composition
        g. Conducting

I. Introduction

At the University of Memphis, the fundamental decisions concerning tenure and promotion are made at the departmental level. These decisions are among the most awesome and solemn that we undertake as a voting body, and the Scheidt School of Music takes them very seriously. The process is complex, as it must be for reasons of fairness and thoroughness; this handbook is intended to clarify that process. Additional information can be found through annual workshops offered by the provost’s office, the College of Communication & Fine Arts, and the School of Music.

The university’s Faculty Handbook outlines policies on tenure and promotion in detail. In addition, the CCFA has its own set of tenure and promotion guidelines, which also adhere to the university guidelines. Read these carefully and understand how the process works at each level (university, college, and School of Music). The Scheidt School of Music abides by university policies fully while recognizing that a school of music must adapt some of them to the specific demands of its discipline.

Candidates for tenure and/or promotion in the School of Music will be evaluated based on three broad factors as outlined by university policy and in Appendix B of the School of Music faculty handbook:

• The quality, diversity, and success of teaching
• The quality, quantity, and impact of scholarship, which is conceived to include both conventional research in the humanities, sciences, and social sciences and creative activity as a composer and/or performer
• Service to the School of Music, the college, the university, the community, and the profession

II. Before Tenure

Most Scheidt School of Music faculty are appointed at the assistant professor level. If this is your case and you have not been given special consideration (e.g., credit for service at another university), you will go up for tenure and promotion to associate professor during the fall semester of your sixth year; if the application is successful, the tenure and promotion will take effect the following fall. Before that time, however, several other things happen which will become part of the tenure file.

Annual Evaluations

The Board of Trustees of the University of Memphis requires that department chairs and directors evaluate the faculty in their departments annually and that the results of these evaluations be used as a part of the basis for decisions relating to tenure and promotion. Faculty evaluations take place in the spring and cover the previous calendar year. For example, a January 2023 evaluation would cover January 1-December 31, 2022. Detailed instructions for the Annual Evaluation process can be found in section 4.12f of the SOM Faculty Handbook and 4.9.1 of the university Faculty Handbook.

Peer Review

All full-time, tenure-track, and non-tenure-track faculty who are preparing for promotion should receive at least one written report of observed teaching per year through the School of Music. Candidates for full professor should have a minimum of two peer reviews of teaching written by other full professors and taken from the three years leading up to their application for promotion. With prior approval of the Dean of the college, the chair or their designee may appoint (an) individual(s) outside of the department and, if necessary, outside of the college or university with appropriate stature and experience in the discipline. It is recommended that peer reviews be completed during the fall semester so they can be included in a faculty member's annual evaluation. More information about the peer review process can be found in 4.12e of the SOM Faculty Handbook and the CCFA Tenure and Promotion Guidelines.

III. Overview of the Mid-Tenure Review Process

The School of Music conducts a major evaluation of each faculty member in a tenure-track position, normally during the third year. This review is conducted by the school’s Tenure and Promotion Committee and the Director of the School of Music, and its purpose is to provide the faculty member with feedback on progress toward promotion and tenure. The procedure for mid-tenure review is fundamentally the same as that used for tenure and promotion review. The candidate is responsible for presenting an early version of the dossier that will be used later for tenure and promotion, except for the letters from external peer reviewers, which are not requested until the actual tenure and promotion review. The evaluation criteria for the quality of mid-tenure accomplishments are the same as those used for promotion to Associate Professor with tenure.

The results of the review by the Director and the Promotion and Tenure Committee will be forwarded to the Dean for comments and evaluation, and the completed review becomes part of the faculty member’s permanent file.

See Faculty Handbook 4.9.5 MID-TENURE-TRACK REVIEW

Procedures for Mid-Tenure Review

Specific dates and additional instructions are provided on the CCFA website. 

Early December

•  Candidates are given access to the UMDrive e-dossier.
  
  

Early to mid-January

• All required documents should be uploaded to the UMDrive by the date stated on the CCFA website.
• The contents of the mid-tenure dossier, instructions, and dates of the various steps in the process can be found on the CCFA website.
• The procedure for mid-tenure is the same as that used for tenure and promotion, except for letters from external peer reviewers, which are not included in the mid-tenure review.
• The dossier follows the organization set by the CCFA and should contain documentation of high-quality teaching, scholarship/creative activity, and outreach/service. Accomplishments in these areas are evaluated with respect to quality as well as quantity within the context of individual roles and responsibilities. More details on the evaluation process can be found in Appendix B of the School of Music handbook.
• The term scholarship will be used to encompass research and creative activity.
• The curriculum vitae must be in the university format. The link to the university CV is on the CCFA website and can also be found under the myMemphis Faculty tab.
• Supplemental materials (10.1 of the dossier) can include books, articles, recordings (audio and/or visual, commercial, or privately recorded), reviews, programs, letters, syllabi, educational materials, or any other supporting documents. The applicant should be selective about what to include, focusing on quality over quantity.

Mid-March

Once the dean has completed the review of materials in mid-March, a Mid-Tenure Evaluation Statement is uploaded into the applicant’s dossier and an in-person meeting is scheduled. The candidate then acquires full access once again to their dossier, which also includes mid-tenure statements from both the School of Music director and the school’s T & P committee. It is essential to address any concerns raised in the mid-tenure review and to develop a plan to remedy any deficiencies.

Because the annual evaluations, peer review, and mid-tenure review are a core part of the evidential base considered for tenure and promotion review, copies of these evaluations will be included in the dossier and will carry significant weight in the deliberations of the T & P committee.

IV. Overview of the Application Process for Tenure and Promotion

The application for Promotion to Associate Rank and Tenure begins in the spring semester (most typically the candidate’s fifth year) before the complete dossier is submitted. Materials for an external review of creative activity/research are due in April; the complete dossier is due in August. The timeline below, for submission of external review documents as well as the complete dossier, will be the same when applying for full professor.

Procedures and Timeline for Submitting Documents for External Review

External review of creative activity is required for all applicants for Tenure and Promotion. The following steps are necessary to complete this process.

January/February: Provide a list of potential external reviewers.

• When requested, the candidate will provide a list of people in their field/area (typically tenured faculty at peer institutions) who are qualified to review scholarship or creative activity. Specific information regarding the external review process can be found in the university handbook.

March/April: Prepare External Review Documents

• Access to the UMDrive e-dossier is typically granted in March or April. At this time, the candidate will submit the Research/Creative Activity statement, CV, and samples of work to be reviewed by the external reviewers. The applicant should refer to their academic area’s research portion of the tenure and promotion guidelines and select materials for the dossier that most strongly support their case. Items provided to the external reviewer should be a representative sample of the applicant’s highest-quality work. The external review documents should be organized as follows:

1. 1. Research/Creative Activity Statement
   2. List of Supplemental Materials
   3. Supplemental Materials
   4. University Curriculum Vitae

April 30th: Submit External Review Documents

• All required documents are to be uploaded to the UMDrive by the deadline stated on the CCFA website, which is typically the end of April.

Procedures for Submitting the Complete Dossier
Instructions, contents, and dates of various steps in the process are available on the Office of the Provost and Academic Affairs website. The dossier follows the organization set by the university and should contain documentation of high-quality instruction, scholarship, and outreach/service. The term scholarship will be used to encompass research and creative activity.

Early August: Prepare Materials

• Access to the UMDrive e-dossier is typically granted in early August. All materials are submitted digitally. Applicants for T & P will already have drafted most documents during the Mid-Tenure evaluation process, but each should be updated and refined, considering the feedback received during the Mid-Tenure evaluation process.
• The curriculum vitae must be in the university format. This link is on the CCFA website and can also be found under the myMemphis Faculty tab. Faculty members are encouraged to update their university CVs regularly; at a minimum, please do so annually when completing the yearly self-evaluation.
• Supplemental materials (10.1 of the dossier) can include books, articles, recordings (audio and/or visual, commercial, or privately recorded), reviews, programs, letters, syllabi, educational materials, or anything else that seems appropriate, but emphasis should be placed on quality and diversity of content over quantity.

Late August: Submit Dossier

• All materials for the e-dossier are due in late August, typically the last Friday of the month. Please complete most materials well in advance of the deadline to allow for any unexpected obstacles.

Reviewing the T&P Dossier
Area-specific criteria for evaluating the Creative Activity portion of the dossier are available below. Please consult these guidelines regularly to ensure that you are on pace for a successful application for Tenure & Promotion.  Here is a typical timeline for the evaluation of your dossier.

September/October:

• The materials in the candidate’s dossier, as well as the letters from external reviewers, are initially reviewed within the School of Music (first by the Tenure and Promotion Sub-Committee, then by the full T & P committee, and lastly by the Director of the School of Music).

October-December

• All materials are then reviewed by the CCFA T & P committee and the CCFA Dean before being sent to the University Provost and President.

January

• Notice of the results of the application typically reaches the candidate by the beginning of the Spring semester of the academic year in which the dossier is submitted. The CCFA Dean sends a letter confirming a successful application pending any further approvals.

September:

• Status as a tenured member of the faculty at Associate rank begins on September 1^st of the following academic year.

V. Promotion: Associate to Full Professor

Since there is no higher rank, promotion to professor is taken with great care and requires a level of achievement substantively beyond that required for associate professor. This rank is not a reward for long service; rather it is recognition of superior achievement within the discipline with every expectation of continuing contribution to the university and the larger academic community. The absence of teaching excellence and superior contribution to student development or the absence of scholarly or creative activity may prevent advancement to full professor. Obtainment of tenure and promotion to associate professor is concurrent unless arranged differently in the hiring process. Promotion to professor and obtaining tenure are not necessarily concurrent.
The application for promotion from associate to full professor can take place after the faculty member has served a minimum of five years at associate rank. Exceptions to this minimum rank qualification can be approved by the provost. The timeline and dossier are the same as that described for going from assistant to associate, except that there is an opportunity after the School of Music vote to stop the process if it is determined that the application for full won’t have a satisfactory outcome.
Documentation in the University Faculty Handbook and the School of Music Handbook about qualifications for, and attributes desired/required for associate and full professor are quite similar, with a few notable exceptions, highlighted in the comparison table below.

VI. Overview of the Application Process for Promotion to Associate Professor of Practice (non-Tenure-Track Faculty)

The process of applying for promotion to Associate Professor rank is like that outlined above for Tenure-Track positions, with two notable exceptions: 

• First, Professors of Practice are evaluated on teaching and service, not creative activity. Therefore, there is no external review process. Beyond that, the process outlined above is identical for those applying to achieve the rank of Associate Professor of Practice.
• There is not the same “fixed” six-year timeline. Faculty are eligible to apply for promotion from Assistant Professor of Practice to Associate Professor of Practice after serving a minimum of 5 years at Assistant rank. Per the 2022 revision of the Faculty Handbook (p. 82), faculty who meet the following criteria are eligible to apply for Associate rank:
  • Documented evidence of high-quality teaching, service to the institution, and contributions to student development and success
  • Served at least five years at the rank of Assistant Professor of Practice. Exceptions to this minimum rank qualification can be approved by the provost.

More information on this process can be found in Section 5 of the University Faculty Handbook.

Creative Activity and Research Guidelines

Faculty members should show evidence of ongoing research and creative activity at the local, regional, national, and international levels. The specific type of activity is at the discretion of the faculty member depending upon his or her strengths, but will normally include several performances, publications, presentations, or other types of research and creative activity each year. Activity that involves collaboration within and outside of the department is highly valued, and a successful tenure application will show work that is emerging on the national or international level.

Significance will be given to activity that is peer-reviewed or critically appraised (e.g., invitations to perform/present at national conferences, invitations to perform with nationally recognized ensembles, the release of a CD on a known label, or publications in a peer-reviewed journal). It is recognized that the dissemination of creative work in the 21st century is rapidly evolving; equivalency of accomplishment in new or non-traditional ways will be established by the quantity and quality of peer review intrinsic to that dissemination.

While sharing original research is essential to achieving Tenure and Promotion to Associate Rank, the following external service activities that help to facilitate creative activity in the field may also contribute to a strong portfolio:

• Scholarly service to the profession: journal editorship, serving on an editorial board or advisory committee for major journals, performing ad hoc reviews of articles, book chapters, or textbooks. Less significant but still valuable service of this variety includes chairing sessions, serving as a discussant or presider at conferences and symposia, or reviewing presentation proposals for such events.
• Leadership positions in international, national, or regional organizations in music educator and/or allied fields; evidence of significant contributions

Faculty members at the University of Memphis (a Carnegie R1 Institution) are encouraged to pursue external funding opportunities. While all candidates for tenure & promotion are expected to demonstrate a breadth of creative accomplishments, it is understood that those who have devoted significant energy to applying for prestigious grants may have somewhat fewer performances, publications, recordings (etc.) than those who have been less active in pursuing such funding opportunities. Applicants for T & P should therefore include a record of grant applications in their tenure dossier.

The following are examples of tenure-worthy research and creative activity in each area:

Applied Music (winds, brass and percussion, strings, keyboard, voice, jazz, and commercial)

Public Performance

• Solo or chamber recitals, particularly on a series or in venues with regional, national, or international reputations for excellence. Performances that are supported by some level of peer review, as seen in the selection process or in a published review, are most significant.
• Major solo works or roles performed with orchestral, wind, opera companies, or other ensembles in an established concert season or significant venue.
• The premiere of a composer’s original composition
• Orchestral, wind, chamber, combo/band, or related concerts and tours as a member of the instrumental ensemble. The nature and reputation of the ensemble, the peer review required for hire, and the position within the ensemble are all significant in establishing peer review.
• Public performances of any type at significant music venues
• Masterclasses, workshops, and clinic presentations (universities, local and state music educators’ associations, nationally or internationally recognized music conferences)
• Lectures, presentations, papers, and other activities at professional gatherings and conferences, with significance given to national and international organizations.
• Appointment as artist/faculty or performance at festivals and other professional organizations where peer review is evident.
• The presentation of commissioned works that were written for the performer or consortium.
• Featured artist, panelist, or performer in nationally or internationally marketed virtual events and workshops.

 Publication

• Recordings (CDs, DVDs, digital media). Recordings on established labels are weighted more heavily than self-published or self-produced recordings. The reputation of the label, reviews, distribution, and other evidence of peer review are also significant. These can include performances as a soloist, as a chamber musician, or in larger ensembles.
• Public broadcasting or other similar dissemination of performances.
• Traditional publications of books, parts of books, reviews, book reviews, monographs, bulletins, articles, and other scholarly works published in refereed journals, research reports, accepted manuscripts, research notes, and bulletins.
• Publication or other dissemination of creative products such as compositions, editions of musical works, and the like.

Engaged Scholarship

• Engaged scholarship encompasses collaborative, sustainable, and long-term projects developed together with a partnering organization (e.g., an arts group, community group, school, or other institution) that equally benefit the university, the partnering organization, and the community.
• Such projects will result in finished products such as performances, recordings, or published reports, reviews, or articles.
• The creation or development of relevant programs, and the lead administrative work associated with such initiatives, will also be considered towards an engaged scholarship portfolio.

Music Business

Creative Activity and Research

The spectrum of scholarship and creative activity across the field of Music Business reflects the breadth and richness of the discipline of music. The definition and standards for attainment of promotion and tenure in the areas of scholarship and/or creative/artistic endeavor require that the faculty member must demonstrate a record of sustained growth in her/his area of specialization.

Examples of creative activity and research include but are not limited to:

• Author of published articles about the music industry in peer-reviewed journals that reach national/international audiences
• Conference presentations, guest lectures, panel participation
• Editor or peer reviewer of Music Business journals, articles, or books
• Published recordings as a performer, composer, arranger, or producer
• Evidence of Licensing, Copyrights, or the negotiation of significant contracts
• Legal representation of an artist as chief council
• Evidence of Concert Promotion, event branding, and/or management
• Evidence of Distribution/Digital Marketing for a label

Engaged Scholarship

Engaged scholarship encompasses collaborative, sustainable, and long-term projects developed together with a partnering organization (e.g., an arts group, community group, school, or other institution) that equally benefit the university, the partnering organization, and the community. Such projects will result in finished products such as performances, recordings, or published reports, reviews, or articles.

Recording Technology

Examples of creative activity and research include but are not limited to:

• Commercially available recordings:
  • with credited creative or production role
  • released on a recognized record label appropriate to the genre
  • received positive national or international review
  • released on a label with national or international distribution
• Multi-media production with a credited creative or production role distributed through commercial channels on an international or national level
• Musical or technical contribution to multidisciplinary performances or events at a national or international level
• Audio systems, equipment, and/or software design with evidence of potential market success, registered patent evidence, or other innovative design related to the industry

Engaged Scholarship

Engaged scholarship encompasses collaborative, sustainable, and long-term projects developed together with a partnering organization (e.g., an arts group, community group, school, or other institution) that equally benefit the university, the partnering organization, and the community. Such projects will result in finished products such as performances, recordings, or published reports, reviews, or articles.

Musicologists, Theorists, (and Composer-Theorists who include scholarly work in their creative activity)

Candidates should demonstrate evidence of a coherent research program conducted over the length of a career, with growth of scope and depth over the years. Contributions to this program can take many forms, some of the more conventional being those listed below.  Candidates for tenure and promotion are not expected to have contributed to all the categories provided here. Instead, a strong tenure portfolio should feature scholarly contributions in some of the following forms:

• Monograph published by a university press (e.g., Cambridge University Press, University of Illinois Press), a reputable trade press (e.g., W.W. Norton), or a specialized scholarly press (e.g., Routledge, Brepols).
• Edition published in a reputable scholarly series (e.g., Recent Researches, Musica Britannica).
• Full-length articles published (5,000-10,000 words) in an internationally distributed scholarly journal, whether general (e.g., JAMS, Musical Quarterly, Revue de Musicologie, Journal of Musicology, Music Theory Spectrum, Music Theory Online, Journal of Music Theory, etc.) or more narrowly specialized (e.g., Early Music, 19th-Century Music, Galpin Society Journal, Latin American Music Review, Contemporary Music Review, Journal of the Society for American Music etc.).
• Article contributed by invitation to a focused collection, Festschrift, etc.
• Paper read at a national or international scholarly conference; publication in conference proceedings when encouraged.
  • National conferences include the meetings of the College Music Society, American Musicological Society, Society for Music Theory, Society for Ethnomusicology, and the Society for American Music.
  • Smaller-scale or less conventional works, e.g., papers read at local chapter meetings, performing editions, websites, reviews, contributions to local historical-society publications, etc., are judged on their merits and potential impact.
    • Some regional music theory societies, namely Music Theory Midwest and the Music Theory Society of New York State (MTSNYS) are equally as selective in accepting papers for presentation as the National Society for Music Theory, for example.

• Performance or composition that fulfills the research requirements for performing or composition faculty.

More public-facing work such as pre-concert lectures, journalism, program or liner notes, and presentations to local historical societies are normally considered as a part of the faculty member’s service component unless they include substantial new scholarship.

Engaged Scholarship

Engaged scholarship encompasses collaborative, sustainable, and long-term projects developed together with a partnering organization (e.g., an arts group, community group, school, or other institution) that equally benefit the university, the partnering organization, and the community. Such projects will result in finished products such as performances, recordings, or published reports, reviews, or articles.

Music Education and Music Therapy Faculty

Candidates should demonstrate evidence of a coherent research program conducted over the length of a career, with growth of scope and depth over the years. Contributions to this program can take many forms, some of the more conventional being those listed below.  Candidates for tenure and promotion are not expected to have contributed to all the categories provided here.  Instead, a strong tenure portfolio should feature scholarly contributions in some of the following forms:

• Full-length articles (5,000-10,000 words) in flagship music education or related publications: peer-reviewed in non-pay journals, sole-authored (collaborations count less), original empirical research, not reprinted or repurposed from earlier work, published in journals that rank highly based on impact factor (SJR, Web of Science, etc.) and/or readership/circulation statistics. Examples of high-quality journals in the field of music education include the Journal of Research in Music Education, International Journal of Music Education, Research Studies in Music Education, Bulletin of the Council for Research in Music Education, Music Education Research, Music Educators Journal, Update: Applications of Research in Music Education, Journal of Music Teacher Education, and many others.
• Book chapters (5,000-10,000 words) in invited and/or peer-reviewed edited books published by significant academic publishers on a national or international level. Examples of significant publishers in music education include (but are not limited to): Oxford University Press, SAGE, Routledge, Rowman & Littlefield, and GIA Publications.
• A full-length book (see list of publishers above). Unlike some humanities fields and even music subspecialties like theory and music history, music education is a scholarly field based on article publication (i.e., it is not a "book field"). Publishing a book is nonetheless a major accomplishment and would certainly bolster a faculty member's tenure case.
• Original (non-repeated) presentations at major national and international conferences and symposia on music education and/or in allied fields: peer-reviewed, sole-authored (collaborations count less), making a significant contribution to research and/or practice. Examples of major national and international conferences and symposia include the NAfME National Conference, ISME International Conference, SMTE Symposium, ACDA National Conference, CMS National Conference, Midwest Clinic, Desert Skies Symposium, Suncoast Music Education Research Symposium, Modern Band Summit, American Educational Research Association National Conference, EAS (in Europe), the Biennial Symposium on the History of Music Education, and many others.

Acceptance rates should be stated when known.

• Generally, poster presentations are less selective (often 75% acceptance or higher) than spoken research papers (often 30% acceptance or lower at major conferences).
• Panel discussions and open forums/Q&A sessions are at the lower end of significance.
• Major external grants for research, community outreach, or program support (in order of significance): sole-authored as Principal Investigator (collaborations count less), peer-reviewed, highly competitive.
• Practitioner workshops for regional/national conventions/social agencies
• Guest lecturing for other departments/institutions on clinical/scholarly expertise
• Performance and other contributions: adjudication, guest conducting, guest lecturing, clinician work, professional development facilitation, and prominent ensemble performances in high-profile venues.
• Engaged scholarship encompasses collaborative, sustainable, and long-term projects developed together with a partnering organization (e.g., an arts group, community group, school, or other institution) that equally benefit the university, the partnering organization, and the community. Such projects will result in finished products such as performances, recordings, or published reports, reviews, or articles.

Composition

Candidates should demonstrate evidence of a strong body of creative work with growth of scope and depth over the years. Contributions to this program can take many forms, some of the more conventional being those listed below. Candidates for tenure and promotion are not expected to have contributed to all the categories provided here.  Instead, a strong tenure portfolio should feature creative contributions in some of the following forms:

• Commissions of original creative work. Please include all commissions accepted, whether or not the work is completed, and make sure to specify the significance of the commissioning body.
• Performances of original compositions broadly defined (to include arrangements, sound installations, etc.) Some invited performances are expected.
• Recordings of original creative work. Self-produced recordings are valuable, but recordings on commercial labels are considered more substantial contributions.
• Work in composing music for media (television, film, video games, dramatic works, etc.).
• Publication of creative work. Any publication is valuable, including self-published/released works, but works distributed by a nationally known publisher or distributor are preferred.
• Inclusion of creative work on conference or festival programs. Regional or local performances are valuable, but programming in some national or international venues is preferred.
• Development of any materials or software to assist with the pedagogy of music composition and/or music theory.
• Engaged scholarship encompasses collaborative, sustainable, and long-term projects developed together with a partnering organization (e.g., an arts group, community group, school, or other institution) that equally benefit the university, the partnering organization, and the community. Such projects will result in finished products such as performances, recordings, or published reports, reviews, or articles.

*Any substantial recognition of one’s creative work should be included on the candidate’s C.V. and/or overview of creative activity. This includes any awards, prizes, grants received (both internal and especially external), residencies, etc.

Conducting

Examples of creative activity in conducting can be categorized as public performances and publications. Candidates are not expected to contribute to all areas; however, their body of work should demonstrate an emerging national or international reach.

Public Performance

• Invitation to conduct festival or honor ensembles at the local, state, regional, or national level. Examples are All-District, All-Region, All-Area, and All-State ensembles sanctioned by music educator organizations. Also included are festivals and camps such as Interlochen, Brevard, Blue Lake, etc.
• Appearance as a guest conductor with university, semi-professional, and professional ensembles.
• Juried ensemble performances or presentations at music conferences. Examples are state music educator conferences, The Midwest Clinic, and professional conferences hosted by college organizations such as NAfME, CMS, ACDA, CBDNA, CODA, and NCCO.
• Public performances at significant music venues.
• The premier of commissioned works written for the ensemble or a consortium.
• Featured guest artist or panelist in nationally or internationally marketed virtual events and workshops.

 Publication:

• Recordings (CDs, DVDs, digital media). Recordings on established labels are weighted more heavily than self-published or self-produced recordings. The reputation of the label, reviews, distribution, and other evidence of peer review are also significant.
• Traditional publications of books, parts of books, reviews, book reviews, monographs, bulletins, articles, and other scholarly works published in refereed journals, research reports, accepted manuscripts, research notes, and bulletins.
• Publication or other dissemination of creative products such as compositions, editions of musical works, arrangements, and the like.
• Creation/composition and design of marching band drill, music, show concepts, and/or choreography for marching bands within the region and nationally.

Engaged Scholarship

• Engaged scholarship encompasses collaborative, sustainable, and long-term projects developed together with a partnering organization (e.g., an arts group, community group, school, or other institution) that equally benefit the university, the partnering organization, and the community.
• Such projects will result in finished products such as performances, recordings, or published reports, reviews, or articles.