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Thread: Dallas College / DCCCD Richland Campus Music Advising Derrick Logozzo / Melissa Logan Out of State Tuition Nightmare

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    Re: Dallas College / DCCCD Richland Campus Music Advising Derrick Logozzo / Melissa Logan Out of State Tuition Nightmare

    Science Says the Most Successful Kids Have Parents Who Do These 9 Things

    "What can I do to make sure my kids succeed in life?" Here's what researchers say.
    1. Don't tell them they can be anything they want.

    According a survey of 400 teenagers, conducted by market research agency C+R Research, young Americans aren't interested in doing the work that will need to be done in the years to come. Instead, they aspire to be musicians, athletes, or video game designers, even though these kinds of jobs only comprise 1 percent of American occupations. In reality, jobs in health care or in construction trades will be golden in future decades. Why not steer them into well-paying professions in which there will be a huge shortage of workers?
    Market Research Agency C+R Research
    ...young Americans aren't interested in doing the work which will need to be done in the future. Some interesting figures:
    • About 20 percent of teens want to work as musicians, athletes or video game designers, even though these kinds of jobs only comprise 1 percent of American occupations. That equates to 30 million people vying for 1.5 million jobs.
    • Only 7 percent of teens want to hold one of the 25 most common jobs in the U.S.
    • Just 3 percent of teens aspire to hold one of the 25 jobs expected to grow most by 2024.
    • Plus, 15 percent of Americans currently have office or administrative jobs, which is the largest of 22 segments of the U.S. labor force. Yet 0 percent of the surveyed teens want to do this kind of work when they grow up.

    Dallas College Richland Campus should be sending all students to Career Services and the Transfer Center before they are allowed to enroll. Every credit hour attempted (whether financial aid was applied for or received) counts against the 180 credit hour limit for financial aid. Every attempted hour also eats up the 150 credit hours eligible for in state tuition. Out of state tuition is not covered by financial aid and will add thousands of dollars to the tuition bill. And, only 60-66 hours can be applied toward a degree at a 4 year university, so no students should exceed that without getting in writing from the school they wish to transfer to that the credit hours are necessary. Hence, Logozzo and Logan putting students into dozens of hours of credit hours of music that apply to nothing, are not college level and/or will not transfer takes away all of the students options and ends academic careers before they are barely begun.

    Derrick Logozzo and Melissa Logan have armies of students that do no have the background and requisite skills to ever make a living in music, but as these students are not getting any information about how to prepare for gainful employment they are easily lured in to fill chairs for these predatory advisors. These dirty advisors are also putting the students into very few core hours that do apply to all degrees. Few students actually take the 32 core hours required for an Associate's Degree in Music, much less the 42 required for most Associate's Degrees and that comprise being core complete upon transfer. This is turning into a horror story!

  2. #302
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    Re: Dallas College / DCCCD Richland Campus Music Advising Derrick Logozzo / Melissa Logan Out of State Tuition Nightmare

    10 musicians earn a new home at the Dallas Symphony Orchestra. Now, they work to keep it
    .....Nickson competed against 138 percussionists from around the world. Because of such low odds, musicians can go years without winning an orchestral position. This life can become expensive and exhausting. As detailed in the famous 2004 New York Times article "The Juilliard Effect: Ten Years Later," bassoonist Chad Alexander once sold his instrument for $5,300 to pay credit card bills. "It got to the point where you're just tired of being poor," he told The Times.

    Orchestral hopefuls often need to hold day jobs to get by. Many teach and some work outside of classical music. When a position in an orchestra opens up, they can try their luck again, but of course, there’s no guarantee of success.
    What does it take to win one of these coveted orchestral jobs, then? First, intense preparation. Sandwick, who joined the clarinet section after holding a position in the San Francisco Ballet Orchestra, follows an eight-week schedule leading up to each audition. At some points, he structures his day to the hour, allotting time for practice, physical exercise, studying scores, meals and sleep.
    “You give up so much,” Sandwick says. “Your personal relationships can suffer sometimes.”.....
    What was your audition process/preparation like? What was it composed of? And what did you think put you ahead of other musicians?

    6/3/2020
    https://www.mydso.com/educate/studio...an/archiveWhat was your audition process/preparation like? What was it composed of? And what did you think put you ahead of other musicians?

    Answered by George Nickson, Principal Percussion
    My audition process for Principal Percussion was a very rigorous one! The audition consists of over 50 excerpts (short pieces) from the orchestral repertoire on about 10 different percussion instruments. Xylophone, glockenspiel, marimba, vibraphone, snare drum, bass drum, cymbals, tambourine, triangle!
    Preparation for the initial audition, which is 4 rounds, prelims, semifinals, finals and super finals, lasted about 6 weeks for me of playing many hours each day. I would estimate that I prepared for this audition with about 200 hours of practice.
    After winning the audition, I had two different trial weeks, which are full weeks of rehearsing and performing with the orchestra, before they voted to determine whether I could join the orchestra. It was a long process!
    I think that diligent preparation, musical expression and treating every musical detail with the utmost care and thought helps to set oneself apart from the rest of the field.
    Best,
    -George
    George Nickson, Principal Percussion:

    A percussionist and conductor of great versatility and virtuosity, George Nickson has been hailed by The New York Times as “a performer handling his role with ease and flair.”
    Prior to Dallas, Nickson served as Principal Percussionist of the Sarasota Orchestra from 2012-2019. He received the Master of Music degree at The Juilliard School where he studied with Daniel Druckman and completed his undergraduate studies at the New England Conservatory with Will Hudgins. In addition to his position with the Sarasota Orchestra, Nickson has had the privilege of performing with the orchestras of Boston, Detroit, Washington D.C., Toronto, Honolulu and San Francisco.
    Recent highlights include world premiere concerto performances at ensembleNEWSRQ in Sarasota, Florida and at Tanglewood, solo performances at The Spoleto Festival, and solo recording projects that can be heard on NAXOS, Bridge and Albany Records. Nickson frequently appears as conductor in notable performances with ensembleNEWSRQ, including world premieres, Charles Wuorinen’s New York Notes and Le Marteau sans Maitre of Pierre Boulez.
    Derrick Logozzo and Melissa Logan need to start sharing the real truth with their students. The abysmal odds apply to music of all kinds and studio work universally. Music is not a way to make a living for the vast majority that pursue it. The vast majority in the department should be playing in 1 ensemble for personal enjoyment with perhaps a half hour lesson for a semester while they pursue a degree that will lead to gainful employment. A small number should be admitted as music education majors if they have the music background, music skills, strong academic record and work ethic to make it. Only a tiny fraction of a percent of students, as in those who clearly demonstrate the capability to transfer and do well, should be admitted as performance majors. This complete BS about it being a developmental program must stop. Credit classes are not developmental and should only have students enrolled in them have them on an official degree plan that leads to employment or as already noted community and 4 year college students may wish to take 1 ensemble per semester as they pursue other majors. Again, every credit hour chips away at financial aid eligibility and in-state tuition eligibility. Choose your classes wisely!

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    Re: Dallas College / DCCCD Richland Campus Music Advising Derrick Logozzo / Melissa Logan Out of State Tuition Nightmare







    All of those programs are offered at Cedar Valley only. Yet Derrick Logozzo and Melissa Logan keep touting the following:



    That is outright fraud. The class schedules have not had these courses for years and the current ones reflect that the classes for certificates and degrees listed above are available at Cedar Valley. Derrick Logozzo telling students that they can do anything related to music business, recording technology, digital music production and the like at Richland is pure fiction and absolute fraud.

    MUSB 1380 (3 Credit Hours)
    This course is not currently offered by Richland Campus.
    Listed by Campus(es): CVC
    Course Title: Cooperative Education - Music Management

    This is a WECM Course Number.
    Course Description: Career related activities encountered in the students' area of specialization are offered through a cooperative agreement between the college, employer, and student. Under supervision of the college and the employer, the student combines classroom learning with work experience. Directly related to a technical discipline, specific learning objectives guide the student through the paid work experience. (1 Lec., 15 Ext.)


    Course Number: MUSB 1381 (3 Credit Hours)
    This course is not currently offered by Richland Campus.
    Listed by Campus(es): CVC
    Course Title: Cooperative Education - Music Management

    This is a WECM Course Number.
    Course Description: Career-related activities encountered in the student's area of specialization offered through an individualized agreement among the college, employer, and student. Under the supervision of the college and the employer, the student combines classroom learning with work experience. Includes a lecture component. (1 Lec., 15 Ext.)




    Course Number: MUSC 1193 (1 Credit Hours)
    This course is not currently offered by Richland Campus.
    Listed by Campus(es): CVC
    Course Title: Special Topics in Music Theory and Composition

    This is a WECM Course Number.
    Course Description: Topics address recently identified current events, skills, knowledges, and/or attitudes and behaviors pertinent to the technology or occupation and relevant to the professional development of the student. This course may be repeated if topics and learning outcomes vary. (1 Lec.)




    Course Number: MUSC 1311 (3 Credit Hours) New course added November 3, 2020
    This course is not currently offered by Richland Campus.
    Listed by Campus(es): CVC
    Course Title: Commercial Music Sight Singing and Ear Training I

    This is a WECM Course Number.
    Course Description: Introduction to basic aural, visual, and vocal experiences in dictation and singing at sight with emphasis on identification of chord progression, motion, and melody/harmony relationship of popular music. (3 Lec.)




    Course Number: MUSC 1313 (3 Credit Hours) New course added November 3, 2020
    This course is not currently offered by Richland Campus.
    Listed by Campus(es): CVC
    Course Title: Commercial Music Theory I

    This is a WECM Course Number.
    Course Description: Introduction to chord progressions, song forms, and harmonic techniques used in commercial music. Topics include modern chord notation and chord voicings. (3 Lec.)




    Course Number: MUSC 1327 (3 Credit Hours)
    Listed by Campus(es): CVC, RLC
    (Single-Course Delivery for RLC. Single-Course Delivery courses do not qualify for Financial Aid at this campus.)
    Course Title: Audio Engineering I

    This is a WECM Course Number.
    Course Description: Overview of the recording studio. Includes basic studio electronics and acoustic principles, waveform properties, microphone concepts and placement techniques, studio set up and signal flow, console theory, signal processing concepts, multi-track principles and operation, and an overview of mixing and editing. (2 Lec., 3 Lab.)




    Course Number: MUSC 1331 (3 Credit Hours)
    This course is not currently offered by Richland Campus.
    Listed by Campus(es): CVC
    Course Title: Musical Instrument Digital Interface (MIDI) I

    This is a WECM Course Number.
    Course Description: Exploration of the history and evolution of Musical Instrument Digital Interface (MIDI) systems and applications. Includes the MIDI language and applications in the studio environment using software-based sequencing programs. (2 Lec., 2 Lab.)




    Course Number: MUSC 1333 (3 Credit Hours)
    This course is not currently offered by Richland Campus.
    Listed by Campus(es): CVC
    Course Title: Synthesis I

    This is a WECM Course Number.
    Prerequisite: Completion of a Music Fundamentals, Music Theory, Private Piano, Class Piano course, or MIDI I.
    Course Description: Introduction to the use of Digital Audio Workstations (DAW's), computers, synthesis, multi-track recording and other MIDI (Music Instrument Digital Interface) devices in the production, arrangement, composition and performance of music. (2 Lec., 2 Lab.)




    Course Number: MUSC 2141 (1 Credit Hours)
    This course is not currently offered by Richland Campus.
    Listed by Campus(es): CVC
    Course Title: Forum/Recital

    This is a WECM Course Number.
    Course Description: Stylistic analysis of commercial music performances presented by students, faculty, and guest artists. This course may be repeated for credit. (2 Lab.)




    Course Number: MUSC 2186 (1 Credit Hours)
    This course is not currently offered by Richland Campus.
    Listed by Campus(es): CVC
    Course Title: Internship - Recording Arts Technology/Technician

    This is a WECM Course Number.
    Course Description: A work-based learning experience that enables the student to apply specialized occupational theory, skills and concepts. A learning plan is developed by the college and the employer. (3 Ext.)




    Course Number: MUSC 2314 (3 Credit Hours)
    This course is not currently offered by Richland Campus.
    Listed by Campus(es): CVC
    Course Title: Improvisation Theory I

    This is a WECM Course Number.
    Course Description: A study of the chordal structures of jazz, rock, country, and fusion with emphasis on extemporaneous performance. (3 Lec.)




    Course Number: MUSC 2319 (3 Credit Hours)
    This course is not currently offered by Richland Campus.
    Listed by Campus(es): CVC
    Course Title: Commercial Orchestration

    This is a WECM Course Number.
    Course Description: Exploration of writing for voices and instruments to include ranges, transposition, and idiosyncrasies of each instrument with emphasis on commercial music chord voicings. (3 Lec.)




    Course Number: MUSC 2330 (3 Credit Hours)
    This course is not currently offered by Richland Campus.
    Listed by Campus(es): CVC
    Course Title: Commercial Music Arranging and Composition

    This is a WECM Course Number.
    Prerequisite: Completion of a Music Fundamentals, Music Theory, Private Piano, Class Piano course, MIDI I, or demonstrated competence approved by the instructor.
    Course Description: Presentation of arranging and composition for projects in industry recognized genres including songwriting, show writing and studio orchestra. (2 Lec., 2 Lab.)




    Course Number: MUSC 2345 (3 Credit Hours)
    This course is not currently offered by Richland Campus.
    Listed by Campus(es): CVC
    Course Title: Synthesis II

    This is a WECM Course Number.
    Prerequisite Recommended: MUSC 1333.
    Course Description: Advanced sound synthesis. Includes hybrid synthesis and digital sampling. (2 Lec., 2 Lab.)




    Course Number: MUSC 2355 (3 Credit Hours)
    This course is not currently offered by Richland Campus.
    Listed by Campus(es): CVC
    Course Title: Musical Instrument Digital Interface (MIDI) II

    This is a WECM Course Number.
    Prerequisite Recommended: MUSC 1331 or demonstrated competence approved by the instructor.
    Course Description: A continuation of MIDI I with emphasis on advanced sequencer operation, and SMPTE-based synchronization in the interaction of multiple recording and playback systems. (2 Lec., 2 Lab.)




    Course Number: MUSC 2427 (4 Credit Hours)
    This course is not currently offered by Richland Campus.
    Listed by Campus(es): CVC
    Course Title: Audio Engineering II

    This is a WECM Course Number.
    Prerequisite Required: MUSC 1327.
    Course Description: Implementation of the recording process, microphones, audio console, multi-track recorder, and signal processing devices. (3 Lec., 3 Lab.)




    Course Number: MUSC 2447 (4 Credit Hours)
    This course is not currently offered by Richland Campus.
    Listed by Campus(es): CVC
    Course Title: Audio Engineering III

    This is a WECM Course Number.
    Prerequisite Required: MUSC 2427.
    Course Description: Advanced practice of procedures and techniques and manipulating audio. Includes digital audio editing, advanced recording techniques, and advanced engineering projects. (3 Lec., 3 Lab.)




    Course Number: MUSC 2448 (4 Credit Hours)
    This course is not currently offered by Richland Campus.
    Listed by Campus(es): CVC
    Course Title: Audio Engineering IV

    This is a WECM Course Number.
    Prerequisite Required: MUSC 2447.
    Course Description: Advanced recording, mixing, arranging, and editing. Includes the role of the producer in session planning, communication, budgeting, business aspects, technical considerations, and music markets. (3 Lec., 3 Lab.)




    Check out the fabulous program at Dallas College Cedar Valley Campus: https://www.facebook.com/CVCCommercialMusic/
    Last edited by Soapboxmom; 12-23-2020 at 12:30 PM.

  4. #304
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    Re: Dallas College / DCCCD Richland Campus Music Advising Derrick Logozzo / Melissa Logan Out of State Tuition Nightmare

    Reality check.... Our wonderful Richland adjuncts hold Master's Degrees, DMAs or Phds. Let's look at how these folks make a living. From a few hours a week at Richland many go to middle schools and high schools where the pay ranges from $13-$25 per half hour lesson. These jobs that last only 30 weeks a year and have no benefits but leave one traveling all over and waiting sometimes hours between lessons are filled by folks with Master's Degree or higher and extensive playing experience in DFW schools. Just to get a few hours a week at these local schools is highly competitive. Those considering music need to look at the harsh realities. Making a living in music requires a tremendous amount of education, incredible talent, endless practice and facing the painful reality of lots of competition and endless auditions.

    AMEP (Private Lesson) Teaching Staff

    Flute
    Janis Grannell - Grades 6-12 (In-Person Lessons available after Sept 8th, Virtual Lessons available now)
    jrg7@att.net
    817.213.7900

    Janis Grannell was born in Memphis, Tennessee where she received her first musical training in the form of piano lessons. The family moved to North Platte, Nebraska when she was eight and she finished her high school education there. She started to play flute in fifth grade. High school awards earned were principal flute two years in the Hastings Select Honor Band, two years in the Nebraska All-State Band, the John Philip Sousa Band Award, the National Orchestra Award, and the Paderewski Gold Medal for receiving a superior rating for ten years in piano Guild.
    Her college years were spent at Texas Christian University as a Nordan Scholarship recipient, where she studied flute under Dr. Ralph Guenther and piano with Keith Mixson. She played with the T.C.U. Symphony Orchestra and was selected twice (eligible every other year) as Honors performer in the concerto competition. She also played in the T.C.U. Woodwind Quintet, coached by Noah Knepper. While at T.C.U., she presented five full flute recitals and several chamber recitals. She graduated Magna Cum Laude, was elected Mu Phi Epsilon president, was tapped for Mortar Board, was the senior scholar in music, and was awarded a Performer’s Certificate. Graduate studies continued at the University of Georgia where she received a teaching assistantship, studying flute with Dr. Ron Waln. She was elected to Phi Kappa Phi, Pi Kappa Lambda and graduated with a 4.0. She was soloist with the University of Georgia Symphony and was a member of the Honors Woodwind Quintet. She played as soloist with the Atlanta Symphony when they were in residency for three days at the University.
    Post-graduate studies include many master classes and recitals. Janis has performed at classes with William Bennett, Karl Kraber, Louis Moyse, Trevor Wye, Geoffrey Gilbert, Jean-Pierre Rampal, and Murray Panitz, and studied flute for many years with Dr. George Morey, retired University of North Texas professor.
    Janis taught adjunct at Texas Christian University, and seventeen years at the University of Texas at Arlington, where she taught flute, coached ensembles, and taught two courses. Her flute choir once played for the CBS Morning Show out of New York. Her students have gone on to achieve successful graduate studies and good teaching positions. She now teaches middle and high school students and has had many All-Region and All-State players. Janis performed for many years with Michael Reed at the Worthington Hotel in Fort Worth and does free-lance work throughout the metroplex. She played with the now defunct Texas Wind Symphony and is active as a clinician and adjudicator. She balances her musical life with family, raising one daughter with her husband, Stephen.

    Natasha Costello- Grades 6-12 (Virtual Lessons Only)
    ncostello1994@gmail.com

    Natasha Costello is a flute player and teacher in the DFW metroplex. She recently graduated with her Master's in Flute Performance from the University of Maryland where she studied with Aaron Goldman and Dr. Sarah Frisof. She completed her Bachelor of Music degree at Texas Christian University studying with Dr. Shauna Thompson.

    As a performer, Natasha has been a finalist for the TCU Concerto Competition, and was selected to perform at the 2016 National Flute Convention as a member of the Collegiate Flute Choir. She was also a co-principal player of both TCU and UMD's orchestra and wind band.

    Natasha discovered a love for teaching early in her undergrad and taught private lessons at schools in the DFW area. In Maryland, she maintained a studio of about 20 students through local Music & Arts stores. Now back in the DFW area, she is excited to share her love of music with the students of the fantastic Texas band programs!

    Oboe
    Anna Peterson- Grades 6-12 (Virtual Lessons Only)
    annacatherinepeterson@gmail.com

    Anna Peterson is an educator and oboist in the Dallas-Fort Worth Metroplex. Anna is a recent graduate of the University of Iowa, where she completed her Masters in Oboe Performance studying with Andrew Parker and Courtney Miller. She previously completed a Bachelors of Arts in Oboe Performance from Augsburg College in Minneapolis, Minnesota. Anna has distinguished herself as a musician, performer, and scholar in many ways during her career thus far. Placing particular emphasis on her love of the oboe as well as history and culture, she has studied extensively abroad both in Paris, France and Vienna, Austria at the Institute for the International Education of Students. While abroad Anna studied for a semester with David Walter, Professor of oboe and chamber music at the Conservatoire de Paris and participated in both performance and history related seminars in Vienna, Austria. Other exciting accolades include a large grant from the Undergraduate Research and Graduate Opportunity Office at Augsburg College in 2013— Anna was able to do an extensive study into the history and development of the oboe reed gouging machine alongside her mentor, Merilee Klemp. Accomplished as an orchestral musician and soloist, Anna has been featured as a soloist multiple times with the Augsburg Symphony Orchestra on both oboe and English horn. Her latest projects include performing with the ‘Vijf’ Reed Quintet at the University of Iowa, and collaborating with colleagues in the Texas Chamber Music Project.
    Since moving to Texas in 2016, Anna has grown a thriving private studio of students in many school districts, also has had frequent performance opportunities in local ensembles. They include the Northeast Orchestra, New Texas Symphony Orchestra, Mesquite Symphony Orchestra and The Texas Chamber Music Project. Anna currently resides in Hurst, Texas with her husband, Christopher, and their black cat Berlioz.


    Bassoon


    Michael Scott Grades 6-12 (In-Person Lessons available after Sept 8th, Virtual Lesson available now)
    mlscottbsn@gmail.com
    870.761.2977

    Michael Scott is currently in the process of finishing his D.M.A./Bassoon Performance degree at the University of Missouri- Kansas City Conservatory of Music and Dance, where he studied with Marita Abner. He is currently working on a reed making book and starting up a reed and cane processing company to supply students and professional with quality reeds and cane as the final project to complete his Doctoral degree.
    While living in Kansas City Michael enjoyed an active performing lifestyle, performing in the Conservatory’s Graduate Fellowship Woodwind Quintet, the Conservatory Orchestra, and Wind Symphony. Outside of school Michael was an active chamber music performer, and freelance musician in the Kansas City area. He was the Second Bassoonist in the Kinnor Philharmonic, and subbed frequently with the Kansas City Symphony, the Lincoln Symphony Orchestra, and the Wichita Symphony.
    Michael has performed in numerous masterclasses with prominent bassoonist from around the country, along with performing at numerous conferences, including the Midwest Clinic, American Bandmasters Association, College Music Society conferences, regional and national College Band Directors National Association conferences, and the International Double Reed Society conference. For the past three years he has served as Co-Principal of the Endless Mountain Music Festival in Pennsylvania, and in 2013 traveled to China to perform in the Beijing Modern Music Festival.
    Michael received his Bachelor of Music in 2004 from Arkansas State University, where he studied with Dan Ross. While attending ASU he served as Principal Bassoonist in the ASU Wind Ensemble and Orchestra. He served as Second Bassoonist in the Northeast Arkansas Symphony from 1997 to 1999, then served as Principal Bassoonist in the Delta Symphony Orchestra from 1999 to 2004. During the summers of 2000 through 2003 he served as Principal Bassoonist at the Wildwood Opera Festival in Little Rock, Arkansas.
    After graduating from ASU Michael studied at Louisiana State University with William Ludwig and received a Master of Music degree in 2006. While attending LSU, he served as Principal Bassoonist in the University Wind Ensemble and Orchestra. He also served as Principal in the Louisiana Sinfonietta and as a substitute Bassoonist for the Baton Rouge Symphony. Several selections from his master’s recital were selected for WKRF’s radio program “The LSU School of Music Presents.”




    Clarinet
    Susan Ishii - Clarinet 6-12 (Virtual Lessons Only)
    ishjazz@sbcglobal.net

    Susan Ishii is in her fourteenth year of teaching private clarinet lessons for the Aledo Bands. A native of Kansas City, Mrs. Ishii graduated from the University of Kansas with a Bachelor of Music Education degree in 1989. She also pursued graduate studies in Clarinet Performance at the University of North Texas.

    She moved to Texas in 1990 where she was a public school band director for five years. She then served eight years as Adjunct Instructor of Clarinet at Texas Wesleyan University in Fort Worth. She has maintained a private music teaching studio for over thirty years.

    Mrs. Ishii is a very active musician in the Dallas/Fort Worth metropolitan area. She frequently performs professionally on clarinet, saxophone, and piano. Her performances include orchestras, big bands, pit orchestras, musical directing, piano accompanying, and other various groups. She has also played on numerous radio and television commercials and performs with the American Jazz Composers Orchestra, who recorded two songs featured on the CD of singer Gale Cruz in 2016. She is also currently a member of the Kitchen Sync Jazz Orchestra. She was a member of the Fort Worth Rodeo Band for fourteen years. She also was a member of the Texas Wind Symphony for eight years.

    She has performed with numerous artists over the years including: Donny Osmond, Rosemary Clooney, Frank Sinatra Jr., Donald O’Connor, Maureen McGovern, Richard Carpenter, Johnny Green, Roger Williams, and Bill Ramsey

    Groups she has performed with include: Dallas Summer Musicals, Casa Manana, The Fort Worth Symphony, The Fort Worth Opera Orchestra, The Fort Worth-Dallas Ballet Orchestra, The Bielefeld Opera Big Band, The Four Tops, The Temptations, The Dallas Jazz Orchestra, Pete Petersen and the Collection Big Band, the Honolulu Big Band, the James Davis Orchestra, and the Bucket List Jazz Band.

    Mrs. Ishii has had many students earn a position in the Texas All-State bands, Texas Area Bands, and All-Region Bands. She has also had numerous students earn a superior “I” rating on a solo at the Texas State Solo and Ensemble Contest.

    Mrs. Ishii resides in Arlington, Texas with her husband and three children.



    Evgeni Karelin- Grades 6-12 (In-Person Lessons available after Sept 8th, Virtual Lesson available now)
    karelinist90@gmail.com

    Evgeni Karelin was born in 1990. he started his clarinet studies at age of 10 in Ashkelon conservatory with Prof. Yuri Burmas. In 2003 he won 2nd prize in youth competition “Maestro”. In the same year he continued his studies with Former principal clarinet of Israeli philharmonic orchestra Prof. Richard Lesser.
    In 2005 Evgeni got accepted to Ministry of Education youth orchestra for principal clarinet and performed all around the country and the globe in the biggest events including concerts for the president of Israel. The orchestra recorded a CD in which Evgeni performed as a soloist.After 3 year of studying with Prof. Lesser Evgeni continued his studies with principle of Israeli national Opera Prof. Michel Gurfinkel.
    In 2006 Evgeni won a scholarship from America-Israel cultural foundation (keren-sharet) for musical excellence, the biggest and the most honorable cultural foundation in Israel which he received twice more in 2010 and 2014.

    In 2007 Evgeni participated in a big music festival in Boston, “Duxbury Music Festival” and won 1st prize in the festivals solo competition. In 2008 Evgeni won a scholarship from Buchman-Heyman foundation for musical excellence. In the same year Evgeni went for an orchestral tour to Germany with the Ministry of Education orchestra as a soloist. He performed in Frankfurt, Munich, Stuttgart, and more for very influential people as the Countess von Stauffenberg. Evgeni participated with the same orchestra with more orchestral tours in Germany and Moscow.

    In 2009 Evgeni got accepted to Jerusalem Academy of Music and immediately become principal clarinet in the Academy’s symphony orchestra (JASO). In the second year of his studies Evgeni got accepted to Academy’s prestige chamber music excellence program and received a full scholarship for all the period of his studies in the academy. In 2011 Evgeni became part of the Jerusalem Academy representative woodwind quintet and performed all over the country in most prestigious halls as Jerusalem music center, Tel-Aviv museum of arts, Jerusalem theater, Ein Kerem and more. Among the performances the quintet won 1st prize in Jerusalem Chamber competition in 2014 and performed a world premiere of Marc Lavry woodwind quintet commissioned by “The Marc Lavry Heritage Society”.

    In 2011 Evgeni participated in the academy’s most prestige project the Jerusalem-Weimar symphony orchestra where Evgeni played principal clarinet. The orchestra combined best students from Jerusalem academy and Franz Liszt Academy in Weimar and took place in Jerusalem and Germany in 2011-2013. The Orchestra performed under baton of very famous conductors as Michael Sanderling (Staatskapelle Dresden) and David Afkham (Spanish National Orchestra Madrid) and performed in the leading venues as Berlin concert house, Dresden Frauenkirche, Staatskapelle Weimar, Tel-Aviv museum of arts and more.

    In 2012 Evgeni Participated in a prestigious festival in Germany under direction of Krzystof Penderecki. Later that year Evgeni got accepted to Ashdod symphony orchestra for permanent position. In 2013 Evgeni performed as a soloist the famous Mozart Clarinet Concerto with Ashdod Symphony Orchestra and later that year went on an Operaic tour with the Orchestra to Perugia Italy.
    In 2014 Evgeni Began working in Israel Chamber Orchestra and Joined the Jerusalem Conservatory as a Clarinet instructor.

    Evgeni was one of the leading clarinet students in Jerusalem academy and in 2015 he finished his studies and obtained both Bachelor and Master degrees with excellence. Evgeni Continued working as substitute Clarinet in Jerusalem symphony orchestra, Ashdod Symphony orchestra, Israel Chamber Orchestra and teaching in Maale Adumim Music School where he served both as a Clarinet and chamber music instructor and as an Administrative assistant.

    In 2016 Evgeni decided to move to United States and Received full tuition scholarships in several prestigious establishments as Indiana University, Michigan university, Boston University, University of Miami and eventually decided to continue his Artist Diploma studies as a Teaching Assistant at Columbus State University with Dr. Lisa Oberlander.

    While in USA Evgeni received fellowships in few prestigious music festivals, Miami Music Festival and Crested Butte Music Festival where he performed as a principal Clarinet under baton of U.S leading conductors as Caren Levine(Metropolitan Opera), Bradley Moore(Houston Grand Opera), David Effron(New york city opera),Yuri Bekker(Charleston Symphony Orchestra) and Tito Munoz (Phoenix Symphony Orchestra).
    Currently Evgeni Attending Texas Christian University in Fort Worth Texas as a Teaching assistant and works as a Clarinet and Chamber music instructor in several High schools in the area. He recently won an audition in Odysseus Chamber Orchestra and performs as a substitute Clarinet in Plano Symphony and Abilene Symphony Orchestra.

    Evgeny performed in almost every orchestra in Israel: Jerusalem Symphony Orchestra, Israel Chamber Orchestra, Raanana symphony orchestra, Israeli Opera, Netanya Kibbutzit Orchestra, Jerusalem opera, Jerusalem festival orchestra, Hadera chamber orchestra, Ashdod symphony orchestra Haifa symphony orchestra and more.

    He played with the most famous soloists and conductors as Michel Legrand, Sergey Stadler, Misha Katz, Michael Sanderling, Vag Papian, Salvador Brotos, Gil Shohat, David Afkham, Dan Ettinger, Frederic Chaslin, Caren Levine, Bradley Moore, Sergei Ostrovsky, David Effron, Igudesman and Joo and many more. Evgeni also participated in many master classes with very famous musicians as Martin Spangenberg, Wolfgang Meyer, Shirley Brill, Chen Halevi, Evgeny Petrov, Reiner Wehle, Antony Pay, Guy Deplus, Jessica Phillips and more.

    Evgeni is very promising and ambitious musician, he was very active and well known musician in the Israeli scene and striving to become one in the U.S.




    Saxophone
    Preston Lewis - Grades 6-12 ​(Virtual Lessons Only)
    dplsaxstudio@gmail.com

    Preston Lewis is a graduate of Texas Christian University, receiving a Bachelor’s degree in Music Education in 2008 and a Master’s degree in Saxophone Performance in 2010. Preston received TCU’s Nordan Young Artist Award and the accompanying full scholarship upon graduation from Alvarado high school in 2004. Preston is a former student of TCU Saxophone Professor Joe Eckert, former director of the US Air Force Airmen of Note. He also studied saxophone at TCU in the studio of Dr. John Giordano, former Conductor of the Fort Worth Symphony.
    Preston began his formal music studies at age seven studying piano under Eastman School of Music graduate Mr. Tim Scholl, Professor of Piano and Music Theory at Southwest Adventist University. Preston continued his studies with Tim Scholl until his graduation from high school, receiving numerous state, national, and international awards from the National Guild of Piano Teachers along the way. He began playing saxophone at age 8. He began private study under Mr. Tim Ishii at age 13 and was named to numerous All-District, All-Region, All-Area, and All-State jazz and concert bands on alto, tenor, and baritone saxophone throughout his public school career. Preston received first division ratings in the UIL State Saxophone Solo contest all four years in high school, receiving UIL state championship medals as an outstanding performer in two of those years.
    Preston went on to study at the Interlochen International Arts Camp as a double major in jazz and concert band which brought him under the tutelage of some of the nations foremost music educators, performers, and conductors including the likes of conductors Frederick Fennell, Gary Greene, and John Whitwell. He studied privately with saxophonist Tim McCallister and took saxophone master classes with Donald Sinta. He also received jazz instruction from David Kay and Frank Mantooth.
    During his college career Preston studied and performed with local, national, and international greats like Frank Mantooth, Lou Carfa, Tim Ries, Rick Stitzel, Andy Martin, Wayne Bergeron, Joey Carter, Jim Snidero, Dave Pietro, Victor Goines, and many others. Preston was the lead jazz tenor at TCU during his undergraduate career, switching to lead jazz alto during his graduate studies. Preston was also principal saxophonist for the TCU Wind Ensemble during both his undergraduate and graduate studies amassing a repertoire of great saxophone solos and ensemble works. In addition to jazz and concert ensembles, Preston is also a former soprano saxophonist of the Imperial Saxophone Quartet, the premier woodwind chamber ensemble of TCU. He has performed across the US and Europe including Italy’s prestigious Umbria Jazz festival.
    Preston has been teaching private lessons since 2008 and is currently accepting students. Preston is currently in demand as a performer in various bands and performing groups throughout the North Texas area.

    John Stevens - Grades 6-12 ​(Virtual Lessons Only)
    JohnJStevens@juno.com
    571.277.8347

    John Stevens has been working as a professional musician and music educator for 30 plus years. Having served for 25 years as a Saxophonist with The U.S. Army Band Pershing’s Own in Washington D.C., Mr. Stevens routinely performed for national and international events, nationally-televised concerts and U.S. Presidential ceremonies, and for professional music events in and around the nation’s capital of Washington D.C. He performed in such venues as The John F. Kennedy Center for the Performing Arts, The Lincoln Center for The Performing Arts, and Carnegie Hall in New York City but was also just as active performing at White House dinners and events, outdoor concerts in and around the nation’s capital, and conferences and conventions throughout the country.
    As a member of this elite musical organization, Mr. Stevens performed with both The United States Army Concert Band and The U.S. Army Blues Jazz Band, equally at home with both classical performances and jazz events. He also solemnly performed for countless military ceremonies and funerals of U.S. statesmen and heroes honored in Arlington National Cemetery, Arlington, Virginia, a duty he never took for granted.
    For the last half of his Pershing’s Own career and while still performing for some of the most elite music events in the country, Mr. Stevens also served The U.S. Army Band as a saxophone section leader and as a woodwinds performance evaluator, rating performance levels and providing counseling helpful to promoting the professional performance skills required to maintain the honored standing of this prestigious professional music organization and its individual professional musicians. He also oversaw and directed the national searches and auditions for filling the various saxophone vacancies for The U.S. Army Band Pershing’s Own bands including vacancies in The United States Army Concert Band and Orchestra, The U.S. Army Ceremonial Band, and The U.S. Army Blues.
    In addition to Mr. Stevens’ prestigious military career with The U.S. Army Band in Washington D.C., Mr. Stevens has worked as a professional saxophonist and woodwinds specialist for over 30 years, having performed with more than 100+ commercial bands, ethnic and chamber music ensembles, and jazz combos. He has performed as a guest saxophonist and clarinetist with several east coast symphony orchestras and recorded a CD with The National Symphony Orchestra out of Washington D.C. He has also played as a multiple woodwinds specialist for seven long-running musical theatre productions and has recorded more than 50 studio sound tracts for movie productions, television documentaries, and commercial CDs and demos and has performed live alongside some of the most well-respected artists and entertainers such as Aretha Franklin, Peabo Bryson, Kenny Loggins, and Quincy Jones.
    Mr. Stevens is not only active as a professional saxophonist and multiple woodwinds expert, he is active in multiple musical genres covering styles from symphony and chamber music to ethnic ensembles, jazz and fusion, R&B, Rockabilly, and Texas Country bands. He was recently a member of a Texas Red Dirt band that was the winner of the 2012 “Live Band of the Year Award” at the Texas Music Awards. His performance venues have ranged from elite performance halls and televised events to weddings and business Christmas parties.



    French Horn
    Josh Davis- Grades 6-12 ​(Virtual Lessons Only)
    thejoshdavis@gmail.com
    ​Bio Coming Soon!




    Trumpet
    Beth Losos - Grades 6-8 ​(In-Person Lessons available after Sept 8th, Virtual Lessons available now)
    brianandbeth5@att.net
    817.441.5619

    Beth Losos is a graduate of the University of Illinois with a Bachelor’s degree in Music Education. After completing her degree, Beth taught in the Weatherford ISD as a band director for five years. Since that time, Beth has taught private trumpet lessons for 20+ years. She has also been a member of the Aledo Private Enrichment staff since 2009.
    Beth and her family reside in Aledo and her children have been very active in the Aledo ISD band program.

    Kyle Sherman Grades 9-12 (Virtual Lessons Only)
    (Studio Currently Full)

    Praised by the Fort Worth Star-Telegram for his “gorgeous and moving solo work,” Kyle Sherman joined the Fort Worth Symphony Orchestra as Principal Trumpet in 2016. Originally from La Grange, Texas, Mr. Sherman is an alumnus of the Yale School of Music, Oberlin Conservatory, Tanglewood Music Center, the National Repertory Orchestra, and the Round Top Festival. Kyle has appeared with the Dallas Symphony, and as a soloist with the Garland, Arlington, and Las Colinas symphony orchestras. He has also performed on the Broadway national tours of the Book of Mormon, Porgy & Bess, and Matilda, among others.
    An active and dedicated educator, he regularly appears as a clinician and recitalist at universities throughout Texas and the United States. His current and former students can be found in the Dallas and Fort Worth Youth Symphonies, as well as college music schools throughout the country.
    Kyle Sherman is a Yamaha performing artist.

    Darren Spurgeon- Grades 6-12 (Virtual Lessons Only)
    darren.spurgeon@hotmail.com
    903.363.2702

    Darren Spurgeon grew up in the United Kingdom. For twelve years, he served as a professional trumpeter in Her Majesty’s Royal Marine Band. He was very fortunate to have traveled all over the world, performing at iconic places such as; The Edinburgh Tattoo, Sydney Opera House, India Gate, Buckingham Palace and for members of the Royal Family. Whilst in the service, he obtained his Bachelor’s Degree in Professional Music Studies, specializing in trumpet performance from Plymouth University. He moved over to Texas from the United Kingdom in 2017, after getting roped by a Texan, marrying her and now currently resides in Fort Worth, TX.
    Darren very quickly became involved in the music community, actively performing with the Fort Worth Community Band, Arlington Community Band and Travis Avenue Baptist Church.






    Trombone
    Christian Paarup Grades 6-12 ​(In-Person Lessons available after Sept 8th, Virtual Lesson available now)
    christianpaarup@gmail.com
    817.800.1386

    As a multifaceted artist, Christian Paarup enjoys a varied and eclectic schedule of performing as a trombonist, composing, arranging, digitally engraving sheet music, working for Houghton Horns, and teaching. Currently the Bass Trombonist of the Waco Symphony for the 2017-18 season, and a trombonist in Center Stage Brass, he has also performed with the Fort Worth Symphony, Harrisburg Symphony, and a number of music festivals, including the Round Top Festival Institute, New York String Orchestra Seminar, and Eastern Music Festival. Mr. Paarup holds degrees from Baylor University (BM), where he graduated magna cum laude, and the Manhattan School of Music (MM) Christian Paarup’s compositions and arrangements have been performed across the country, including at the International Trombone Festival and the American Trombone Workshop.
    In 2016, Christian was commissioned by a consortium of some of the nation’s most prestigious music schools to compose Transmogrify for Trombone Octet, which was premiered at the 2017 University of Florida International Brass Festival. Mr. Paarup also appeared at the Festival as a guest artist, performing a lecture-recital of his arrangement of Stravinsky’s Pulcinella Suite for Trombone and Piano. He was commissioned by Joseph Alessi in 2015 to create a piano reduction of Enrique Crespo’s Trombone Concerto in F, which was performed by Mr. Alessi in the United States, as well as in Russia.
    As a digital music engraver, Paarup Music Editions delivers high quality sheet music to clients such as Per Brevig, Dennis Bubert, and the Southern Methodist University Wind Ensemble. Currently in the works is a beginning horn method book by renowned horn pedagogues Karen Houghton and Janet Nye, to be published by Houghton Horns, LLC. Christian is also the Editorial Director for Velocity Music, Inc., where he creates arrangements and edits all scores and parts for publication.
    Mr. Paarup also keeps a busy teaching schedule in the Dallas-Fort Worth metroplex
    (Richland College), where he has had students make the coveted TMEA All-State ensembles, earn First Division ratings at UIL Solo and Ensemble Contest, and go on to major in trombone in college. Mr. Paarup can often be seen leading trombone choirs—such as the Trombone Choir of North Texas, of which he is the founder and director. Mr. Paarup views the trombone choir as an exciting, essential vehicle for trombonists to develop ensemble skills, experience the true potential of the trombone, and promote the craft. As the Trombone Specialist at Houghton Horns, Christian oversees the trombone inventory and handles all trombone-related customer affairs. He also travels to music conventions and represents the company throughout the year. Christian is grateful to have studied with some of the world’s foremost trombonists, including Brent Phillips, David Finlayson, Dennis Bubert, and Joseph Alessi.



    Tuba/Euphonium
    David Barr - Grades 6-12 (Virtual Lessons Only)
    davidmbarr@gmail.com

    ​David Barr is an active performer and educator in the Dallas/Fort Worth Metroplex. David completed his B.M. in performance at the University of Texas at Arlington in 2012, studying under Ed Jones, principal tubist in the FWSO. He later returned to UTA to complete a M.M. in performance in 2016. Playing opportunities at UTA involved both band and orchestral ensembles, including performances at the TMEA and CBDNA conventions, as well as clinic opportunities with composers including Michael Daugherty, Augusta Read Thomas, John Mackey and David Maslanka.
    David has been teaching in Arlington and the surrounding areas since 2012. He has taught from beginner to high school level, both in individual and master class settings. In addition to maintaining a private studio, David also performs regularly in the Dallas area as a jazz tubist and bassist with groups such as Hausbone and the Black Powder Vipers.






    Percussion
    Todd Ukena- Grades 6-12 ​(Virtual Lessons Only)
    toddukena@yahoo.com
    817.629.1801

    Todd A. Ukena is a composer and arranger of percussion literature and has played percussion since 1970. He received a B.M.E. degree from Phillips University in Enid, Oklahoma in 1980 studying under Mr. Eddie Lockhart. Later, he completed a M.M. degree in Percussion Performance from the University of Oklahoma in 1988 studying with Dr. Richard Gipson. Other post graduate work was done at the University of North Texas, studying with Ron Fink and Dr. Robert Schietroma.
    His performance career has been well-rounded, including musicals, concert bands, jazz ensembles, percussion ensembles, solo work, and marching with the "The Pride" of Oklahoma Marching Band and the Valiant Knights Drum and Bugle Corps where he later served as drumline instructor and arranger.
    He worked with the Weatherford I.S.D. since 1982 starting as assistant band director and percussion instructor then later as Director of Music at Mary Martin Elementary School while being the front line director of the Weatherford HS marching band from 2006-2010. During this time he was adjunct Professor of Percussion at Texas Wesleyan University in Fort Worth, Texas. He continues to teach private percussion since 1976.
    He developed the "Integrated Music & P.E." program (I.M.P.) in 2003 at Mary Martin Elementary School collaborating with the P.E. teacher. This system was presented at many state music and P.E. conventions in Texas, Louisiana, and Oklahoma; (2009-2011). Many school districts now use this system. He also presented Almost "Forty Rudiments" for Mallets, (with Percussion Arts Society permission) At TMEA convention in 2012. Todd continues to develop teaching resources for music and P.E. teachers.
    He has numerous publications of snare drum, timpani, mallet, and drum set solos with at Hall Leonard), J.W. Pepper, PEL Music company, and self publications. As it is his passion, he continues to compose for all areas of percussion. He retired after thirty years of teaching in May, 2011. He continues new directions as a private percussion instructor, composer, and I.M.P consultant.



    Lauren Stephens- Grades 6-12 ​(In-Person Lessons available after Sept 8th, Virtual Lessons available now)
    laurendstephens9@gmail.com
    Lauren Stephens graduated from Texas Christian University in May 2019 with her Bachelor of Music Education degree. While attending TCU, Ms. Stephens’ performance experiences included the TCU Symphony Orchestra, Symphonic Band, Horned Frog Marching Band, Steel Band, Basketball Band, and the PASIC Champion TCU Percussion Orchestra. She has studied with Dr. Brian A. West, Dr. Richard Gipson, and Joey Carter among others. Ms. Stephens has teaching experience across the metroplex including multiple percussion camps, band camps, and TCU Sounds of Summer camps.

    Ms. Stephens student taught with Evan Blackard, Mike Pickrell, and Jessica Shadman in Birdville ISD in the Spring of 2019. She currently serves Aledo ISD as Percussion Paraprofessional, assisting Percussion Director, Mr. Scott Stephens. As paraprofessional, she assists with percussionists, grades 6-12, including the Aledo High School Bearcat Regiment. She is an active member of Texas Music Educators Association, Percussive Arts Society, and holds her Texas Certification in Music EC-12.



    Guitar
    Scott Stevens-Grades 7-12
    scottstevensguitar@gmail.com

    Scott Stevens is a commercial music educator and freelance studio musician. He works with schools and community arts programs, innovative music educators, and jazz band directors to develop driving and cohesive rhythm sections and skilled and knowledgeable rhythm players. Through the use of cutting-edge music tools alongside time-honored teaching principles, Mr. Stevens helps turn contemporary music students into masterful artists, creative musicians, and solid music ensemble players and leaders. He gives them the knowledge and training to turn their passion for music into actual skills that help them become proficient instrumentalists and indispensable band members.

    As a professional musician, Mr. Stevens has performed a wide range of music ranging from Blues and Jazz to Rock, Southern Gospel, Contemporary Christian, Country, and Fingerstyle Guitar. He has appeared with Grammy and Dove Award winner Russ Taff and with 9-time Grammy Award winner The Blackwood Brothers Quartet in addition to having been the lead guitarist for Latin and Contemporary Jazz artist Johnny Holliday, Red Dirt Texas Country artist Brendon Kyle, and the Nashville-style country group The Band McGraw, to name a few. He has also been a guest artist for various church and community orchestras, has performed in several pit orchestras for musical show productions, and has performed at Sundance Square in Fort Worth, TX and at the Fort Worth Main Street Arts Festival.

    Mr. Stevens studied Jazz Studies at The University of Texas at Arlington which included jazz guitar performance, music theory and keyboard, jazz composition, jazz arranging, and conducting, adding coursework in music media, recording techniques, digital music technology, and music business to provide the aspects of the music industry complimentary to his teaching and performing career. His notable list of private teachers include the legendary Bebop, Jazz, and Country music performer and recording artist Clint Strong; contemporary guitarist Chad Leader, lead guitarist for The United States Army Band Downrange (The U.S. Army Band’s contemporary rock band), and Mario Ramsey, percussionist for The U.S. Army Band Pershing’s Own Concert Band and occasional drummer for The U.S. Army Blues.

    In addition to his career in music performance and education, Mr. Stevens enjoys ancient history, photography, and ethnomusicology. Unless he told you, you might never have known he was in an African drum ensemble. He really does enjoy ethnomusicology… and he really was in an African drum ensemble.

    Mr. Stevens has been teaching private lessons since 2007 and began working with the Aledo Independent School District band program in 2016. Those interested in studying with Scott Stevens can contact him directly at 571-275-1502 or ScottStevensGuitar@gmail.com.









    Aledo Middle School 416 FM 1187 South Aledo, Tx 76008 817.441.5197

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    Re: Dallas College / DCCCD Richland Campus Music Advising Derrick Logozzo / Melissa Logan Out of State Tuition Nightmare

    Please check the credentials!
    Private Lesson Staff

    The private lesson staff includes degreed educators that are interviewed and selected by CISD Band Directors. Our lesson teachers have doctorate and master degrees in their field of expertise! Individual instruction is extremely beneficial due to the one-on-one teaching environment. The private teacher is able to design a program that meets each individual student's needs, allowing each student to progress at his/her own rate of ability. Professional teachers on each instrument will be available to teach these lessons during band class & before or after school.

    Much of the individual success throughout the East Band Program can be attributed to the high number of students enrolled in the private lesson program that take from our superior private lesson staff.

    Reasons to Enroll in Private Lessons:
    • Be a part of an accelerated program
    • Opportunity to be taught 1 on 1 by a professional instrumentalist​
    • Desire to learn more about the instrument
    • Desire to move faster than in the classroom
    • Desire to learn more repertoire


    Flute - Soyeon Ko
    469-328-2955 -teleksy@hotmail.com

    Soyeon Ko appears as flutist/Piccoloist and orchestra chamber player throughoutthe United States, Germany, Rumania and Asia. She is currently Principal flutist of the UNT Concert Orchestra and in doctoral program and Teaching Fellow at the University of North Texas.She has also been a member of the National American Wind Symphony, Peabody Concert Orchestra, St. Ann Perish Chamber as a soloist and Richardson Symphony Orchestra as a guest piccolo player (played Beethoven 9th symphony). She has been teaching in Dallas area including Carrollton, Flower Mound, Lewisville, currently Coppell ISD. She also performs with the Mercy Trio every summer season. She earned a masters degree in Piccolo performance from Peabody Institute of The Johns Hopkins University, and her Bachelor’s degree in Flute and Piccolo performance at the University of North Texas.

    Oboe - Will Smith
    214-417-5722 - swilltsmith@gmail.com

    Will Smith is a freelance oboist and private teacher based in Dallas/Ft. Worth. Originally from Coppell, Mr. Smith was a student of Sally Bohls. He holds a Bachelor of Music degree in Oboe Performance from Baylor University where he was a student of Dr. Doris DeLoach, as well as a Master of Music degree in Oboe Performance from New England Conservatory where he was a student of John Ferrillo (Boston Symphony Orchestra) and Anne Gabriele (Los Angeles Philharmonic). While living in Boston, Mr. Smith performed as a member of the Weston Wind Quintet, East Coast Scoring Orchestra, Boston Young Composer’s Ensemble, and Boston Chamber Symphony. He has been a student at The MasterWorks Festival and Brevard Music Center summer institutes and an instructor at the Baylor University Summer Music and Bocal Majority/ Operation O.B.O.E. camps. Mr. Smith holds a small studio of private oboe students in Coppell ISD and works as an interior decorator in the Dallas area.

    Bassoon - Sara McCallum
    (817) 675-6132 -sara.mccallum@gmail.com

    Sara McCallum is currently pursuing a Doctorate of Musical Arts in bassoon performance from the University of Illinois at Urbana-Champaign. She has performed with the Champaign Urbana Symphony, Sinfonia de Camera and the Illinois Symphony Orchestra. Sara was born and raised in Texas where she attended Texas State University, receiving a bachelors of music in bassoon performance and the University of North Texas, receiving a masters of music in bassoon performance. While in Texas she was a member of the Meridian Chamber Players, Lone Star Wind Orchestra and Illmari Winds Quintet. Major teachers include Daris Word-Hale, Kathleen Reynolds and Timothy McGovern. She is an instructor for the Bocal Majority Bassoon Camp and the current private lesson instructor in Duncanville ISD, Southlake Carroll ISD and Coppell ISD. In the summer of 2011 she performed with the Franco American Vocal Academy, touring the south of France with a production of Offenbach’s, Le Grande-Duchesse de Gerolstein. She spent the summer of 2012 as a faculty member for the CICA International Music Festival serving as principal bassoon in the festival orchestra as well as teaching master classes and performing in many chamber concerts. Miss McCallum has an active studio of over 50 students and hand makes reeds for her private studio and several school districts.

    Clarinet - Matthew Casazza
    (603) 554-5590 - mattjcasazza@gmail.com

    Matthew Casazza is an active performer in the Dallas-Fort Worth area - establishing himself as a vibrant, young clarinetist. He received his master’s degree at the University of North Texas, where he studied under Dr. Kim Cole Luevano and performed with the renowned North Texas Wind Symphony under the direction of Eugene Migliaro Corporon. During his time at UNT he also served as principal clarinet for the Concert Orchestra. He can be heard on numerous GIA Windworks and Teaching Music through Performance recordings. Mr. Casazza is also a graduate of the University of New Hampshire where he studied under Dr. Elizabeth Gunlogson and Stephanie Ratte-Jenkins. During this time, he spent two summers abroad in Berlin, Germany studying with Jurgen Kupke at the prestigious Bethanien Kunstlerhaus. In 2016, Mr. Casazza was a finalist for the Orchestral Audition competition hosted by the International Clarinet Association in Lawrence, Kansas. Mr. Casazza maintains a private lesson studio throughout the Dallas-Fort Worth area. His students have consistently placed in TMEA and ATSSB Region and State Bands.

    Saxophone - Courtney Haines
    214-402-6620 - saxophonebarbie@yahoo.com

    Courtney Haines is a graduate of Booker T. Washington School for the Performing and Visual Arts and holds degrees from Texas Wesleyan University (B.A., Music Performance), and the University of North Texas (M.M., Jazz Studies). A talented multi-instrumentalist, she was 10 years old when she performed on piano as one of the opening acts for Jerry Lee Lewis. VH1 selected Courtney to perform in concert with Chicago as part of the “Save the Music” public awareness promotion. In the summer of 2002, Courtney was selected from a nationwide audition tour to play saxophone at Disneyland and Disney’s California Adventure with Disney’s All-American College Band in Anaheim, CA. Her European engagements include the Lucerne Blues Fest, Glenn Miller Café in Stockholm, the Trier 20th Anniversary Celebration in Germany, and the cultural exchange program Lone Star International Jazz Exchange in Germany and France. She has performed numerous cruise ship engagements, and toured with Willie Nelson, Denis Leary, the Coasters, Platters, Marvelettes, and Barnum and Bailey Circus. In 2014, she played saxophone in the band for Aretha Franklin and in 2015 with the Temptations. In 2016, she released her solo album of original music, Saxophone Barbie.
    Locally, Courtney performs and records with various bands including Intensity, Dallas Jazz Orchestra, Party Crashers/Party Monkeys, Vintage Vibes, Spinout Elvis Tribute Band, Cheap Trickster, and Fleetwood Mac Tribute.
    In addition to teaching at North Lake College (2008-present) and Mountain View College (2007-2008), she teaches private piano/saxophone lessons for Coppell, Irving, Duncanville, and Grand Prairie.


    Trumpet - Jared Hunt
    678.989.7815 -jhunt422@gmail.com

    Dr. Hunt is entering his second year as the private trumpet teacher at Coppell High School but has been teaching privately since 2008 (Richland College.) He recently completed his Doctorate in Trumpet Performance at Arizona State University where he was the teaching assistant for Professor David Hickman. Dr. Hunt was also a first-call substitute with the Phoenix Symphony while living in the greater-Phoenix area, performing with the PSO, Tucson Symphony, and Arizona Opera over 30 times in three years. Before moving to Arizona, Hunt completed his Masters in Trumpet Performance at the University of Texas at Austin, and his Bachelor’s degree in Music Education at the University of Georgia.

    Horn - Andrea Denis
    214-862-5953 - andrea.denis.horn@gmail.com

    Dr. Andrea Denis was excited to become part of the brass faculty at TWU starting fall 2016. Dr. Denis is a recent DMA graduate from Texas Tech University in Lubbock, TX, where she studied with Chris M. Smith. While studying at Texas Tech, she received a teaching assistantship and a CH Foundation Doctoral fellowship. Her past teaching positions have included Eastern New Mexico University, East Texas Baptist University, Kilgore College, and Tyler Junior College, as well as teaching in public schools throughout East and West Texas. Dr. Denis received her masters and undergraduate degrees from Stephen F. Austin State University, studying under Dr. Charles Gavin. She has also judged on numerous panels for middle and high school all-region auditions in Texas.

    Not only is Dr. Denis an educator, but she is also an avid performer. She has played and held positions with Lubbock Symphony, Amarillo Symphony, Plainview Symphony, and the East Texas Symphonic Band. Dr. Denis was also the winner of the MidSouth Horn Graduate Solo Competition in 2014, and in the summer of 2015, she attended the Nebraska Chamber Music Institute as a member of the Texas Tech Graduate Woodwind Quintet. She has also performed at numerous conferences including both the MidSouth and the Southeast horn workshops, TMEA, the International Horn Society Conference, and the Rafael Mendez Brass Institute. Often performing works by new composer, Dr. Denis premiered David Frost’s City on Fire in 2015.

    Her professional organizations include the International Horn Society, the College Music Society, Texas Music Educators Association, Pi Kappa Lambda, and Phi Eta Sigma National Honor Society.

    Trombone - Ryan Haines
    ryanehaines@yahoo.com

    Ryan Haines is a trombonist, composer, clinician, and brass teacher based in Dallas, Texas. He was an adjunct faculty trombone instructor at Arizona State University from 2011-2015 and was the interim Director of Jazz Studies at Northern Arizona University from 2011-2012. Ryan was the lead trombonist, Musical Director, Producer, and Chief Arranger for the Falconaires based at the United States Air Force Academy in Colorado. He has composed and arranged music for 9 Air Force recordings and videos by premier ensembles from the USAF Academy Band and the USAF Band Washington DC. Ryan has performed as a featured artist at international music conferences, festivals, and before audiences throughout the United States. Industry reviewers of his recordings and compositions use phrases such as: “world-class”, “stellar”, “amazing” and “as good as it gets” to describe his trombone playing and writing style.

    Trombone - Jon Bohls
    972-394-0374 - bohlsj@verizon.net

    ​ Jon Bohls is a professional performer and private teacher in the Dallas Metroplex. Jon was a successful band director for 19 years having taught in New Braunfels, Lubbock, and Carrollton. He is currently in his 20th year of private teaching and now has a studio of 70-80 trombone students. He is the Bass Trombone with the Lewisville Lake Symphony. He has performed with the San Antonio Symphony, Dallas Wind Symphony, Dallas Opera Orchestra, Richardson Symphony, Garland/Las Calinas Symphony, Pete Peterson's Collection Big Band, Sambuca Big Band, and the Dallas Jazz Orchestra. Jon is the festival director for the International Trombone Festival. He directs and performs with the Dallas-area based trombone ensemble, Slide Show. Jon holds a Bachelor of Arts Degree from Texas Lutheran College and a Master of Music Education Degree from Texas Tech University. He has studied trombone with Bryce Taylor, Cal Schulz, Robert Deahl, Royce Lumpkin, and John Kitzman.

    Euphonium - Larry Barton
    lbarton555@yahoo.com

    Larry Barton is an adjunct professor in the music education area. He currently teaches the brass and woodwind method classes to music education majors and supervises secondary student teachers in instrumental music.
    Mr. Barton taught band in public schools for 29 years. He began his career teaching both junior high and high school band in Rio Hondo and then went on to teach in Weatherford ISD and Grand Prairie ISD. Mr. Barton's bands have consistently earned sweepstakes awards. His bands were chosen as region honor band on several occasions and placed in the top 10 in Texas on 2 occasions. Mr. Barton was awarded a lifetime membership in PTA, served as fine arts department chairman for many years and was named Teacher of the Year while at Reagan Middle School in Grand Prairie. Also while in Grand Prairie he served many years as a mentor teacher to other music teachers in the district. He has been a member of both Texas Bandmasters Association and Texas Music Educators Association during his career and has served as the middle school region chairman and as the region representative to Texas Bandmasters Association.
    Mr. Barton has both a Bachelor of Music degree and a Master of Music Education degree from the University of North Texas. He frequently serves as a clinician and adjudicator across the state of Texas.

    Tuba- Jung Moo Lee
    972-672-3871 - leetubastudio@gmail.com

    Originally from South Korea Mr. Jung Moo Lee is an active freelance tuba player and private teacher. He is a tuba player with Center Stage Brass and private instructor of Trinity High School, and Grapevine High School. He has performed with large ensembles, such as North Texas Wind Symphony, Meadows Wind Ensemble, North Texas Symphony Orchestra, and Daegu Symphony Orchestra, and chamber groups, such as Sounding Brass, Texas Dixieland Band, and North Texas Tuba Ensemble.
    Mr. Lee earned degrees from Kei-Myung University (BM: Tuba Performance), University of North Texas (MM: Tuba Performance), and Southern Methodist University (MM: Instrumental Conducting) each with a full scholarship, and currently he is working on his dissertation for a Doctor of Musical Arts degree at UNT.
    He was a Teaching Fellow at UNT for teaching undergraduate and graduate tuba students, coaching brass chamber ensembles, and conducting undergraduate tuba/euphonium ensemble. His primary tuba teachers are Don Little, a regent professor of tuba at UNT, and Matt Good, a Principal tuba player of Dallas Symphony and tuba professor at SMU.

    Percussion - Eric Martin
    940-594-1473 - eric@ericmartinpercussion.com

    Eric Martin is an in-demand performer, educator, and composer living in the Dallas area. He is currently teaching in the Coppell school district. In addition to these schools, he also acts as the front ensemble director and arranger for the University of Texas at Arlington Marching Band. His compositions have been premiered across the country, including at such events as the Percussive Arts Society International Convention and the Midwest Band and Orchestra Conference. Eric is also the author of the book Sight-Reading Skills for the Mallet Percussionist published by K. Wylie Publications. As a performer, Eric has shared the stage with such musicians as Elvis Costello, Maureen McGovern, Glen Campbell, Rosana Eckert, and Ed Smith. He currently performs with his own Eric Martin Trio.







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    Re: Dallas College / DCCCD Richland Campus Music Advising Derrick Logozzo / Melissa Logan Out of State Tuition Nightmare

    Derrick Logozzo plays for this orchestra. The pay has gone up a little since 2005, but do the math. 24 services equals around 16 rehearsals and 8 performances in a year. That is a year's worth of bubble gum money. A tremendous amount of practice time and drive time is unpaid. There is tremendous competition for the very few spots even in these smaller orchestras that pay peanuts. If your resume is among the most impressive you may get an audition. See the post about the DSO above. Logozzo holds a Master's from UNT (one of the top and most prestigious music schools in the country.) There are many volunteer community orchestras, a small number of orchestras like Irving's across the country and a select few large top tier orchestras that have paid players.

    Why Community Orchestras Are Important – Parker Symphony Orchestra
    only about 20% have professional musicians (source: League of American Orchestras). The other 80% are volunteer, or community, orchestras made up of musicians who gladly donate their time and efforts to entertain, educate, and inspire their local community.
    Don't forget the Dallas Symphony Orchestra Chorus is all volunteer. Derrick Logozzo and Melissa Logan are not giving students the cold hard facts and painful realities of making a living in music. They are using up students financial aid eligible hours (180 credit) and in state tuition eligible hours (150 credit).


    Irving Symphony Orchestra
    Hector Guzman, Music Director and Conductor

    Auditions: 2003-2004 Season
    Openings
    Section Violin
    Section Bass
    Bassoon II
    At this time, ISO will only be auditioning for the above positions.
    View Audition Repertoire and Information
    The Irving Symphony Orchestra is a per service orchestra. Approximately 27 services are planned for the year beginning October 9, 2003. Per service rates are $78/service for Principal and $68/service for Section. All applicants must demonstrate U.S. Citizenship or legal eligibility to accept employment with the ISO.
    At this time, ISO will only be auditioning for the above positions. ISO does not supply music/excerpts.
    Please mail your resume to: Irving Symphony Orchestra, 225 E. John Carpenter Freeway, Suite 120, Irving, Texas 75062. The ISO will continue to accept resumes throughout the year for substitute positions. Check with Jim Gasewicz, Operations Manager, (972) 504-6743 for an audition time.
    Auditions held:
    Sunday, September 14, 2003 (9 AM – 5 PM) at:
    Irving Arts Center - Carpenter Performance Hall
    3333 N. MacArthur Blvd.
    Irving, Texas 75062

    If you'd like to be on the waiting list for consideration with ISO, enter your info below
    (this does not register you for an audition).
    Name:
    Tel:
    E-mail:
    I would like to be on the waiting list as a player
    I would like to be a staff volunteer
    Instrument, position
    or any comments:
    HOMEPROGRAMBIOSTICKETSSPONSORSHIPEVENTSAUDITIONSDIRECTIONSCONTACT
    ©2003 Irving Symphony Orchestra Association • All Rights Reserved • Site by MusicHost & Mike Itashiki

    IP 209.237.238.173 • 10/12/2003

    2004 ISO Repertoire
    Concertmaster Sheherazade N. Rimsky-Korsakov
    Don Juan, of course! Strauss
    Suite No. 4 (Mozartiana) Tchaikovsky
    Violin Symphony No. 39 (II mov.) Mozart
    Overature to Midsummer Night's Dream Mendelssohn
    Overature to William Tell (II Allegro) Rossini
    Viola Symphony No. 5 (opening) Shostakovich
    La Gazza Ladra (Allegro) Rossini
    Roman Carnival (Soli) Berlioz
    Cello Symphony No. 5 (III mov.) Beethoven
    Symphony No. 2 (II mov.) Brahms
    Scherzo from Midsummer Night's Dream Mendelssohn
    Bass Symphony No. 3 (II mov.) Beethoven
    Fingal's Cave Mendelssohn
    La Forza del Destino Verdi
    Flute/Piccolo Prelude to the Afternoon of a Faun Debussy
    Symphony No. 4 (IV mov.) Brahms
    Scherzo from Midsummer Night's Dream Mendelssohn
    Symphony No. 4 (IV mov. -Piccolo) Tchaikovsky
    La Gazza Ladra (Piccolo) Rossini
    Oboe/ E. Horn La Scala di Seta Rossini
    Don Juan (Solos) Strauss
    Symphony No. 2 (III mov.) Brahms
    Nocturnes (English Horn) Debussy
    El Sombrero de Tres Picos (Cadenza-English Horn) De Falla
    Clarinet Capricco Espagnol R. Korsakov
    Dances of Galanta Kodaly
    Symphony No. 3 (Scherzo) Mendelssohn
    Bassoon Marriage of Figaro Mozart
    Concerto for Orchestra Bartok
    Scherezade R. Korsakov
    Horn Till Eulenspigel Strauss
    Symphony No. 5 (II mov.) Tchaikovsky
    Symphony No. 7 (I mov.) Beethoven
    Trumpet Leonora Ov. (off stage) Beethoven
    Petroushka Stravinsky
    Pictures at an Exhibition Mussorsky-Ravel
    Trombone La Gazza Ladra Rossini
    Bolero Ravel
    Requiem (Tuba Mirum) Mozart
    Bass Trombone William Tell Rossini
    Ride of the Walkirie Wagner
    Tuba Pictures at an Exhibition Mussorsky
    Symphonie Fantastique Berlioz
    Symphony No. 1 (III, IV) Mahler
    Timpani Don Juan Strauss
    Symphony No. 9 Beethoven
    Symphonic Metamorphosis Hindemith
    Percussion Porgy and Bess (Xylophone) Gershwin
    Pines of Rome (Glock.) O. Respighi
    Scheherezade (Snare and Tambourine) R. Korsakov
    Romeo and Juliet (Cymbals) Tchaikovsky
    A solo piece is required. All applicants must demonstrate U.S. citizenship or legal eligibility to accept employment with the Irving Symphony Orchestra. Good luck!

    PROGRAMBIOSTICKETSSPONSORSHIPCOMMUNITY ENGAGEMENTEVENTSAUDITIONSDIRECTIONSCONTACT
    ©2007 Irving Symphony Orchestra Association • 972-831-8818 • All Rights Reserved • Site by Mike Itashiki

    IP 64.208.172.176 • 8/7/2007
    Irving Symphony Orchestra
    Hector Guzman, Music Director and Conductor
    Auditions: 2004-05 Season
    Openings
    Section Bass
    View previous year's Audition Repertoire and Information

    The Irving Symphony Orchestra is a per service orchestra. Approximately 22 services are planned for the year beginning October 7, 2004. Per service rates are $80/service for Principal and $70/service for Section. All applicants must demonstrate U.S. Citizenship or legal eligibility to accept employment with the ISO.
    At this time, ISO will only be auditioning for the above positions. ISO does not supply music/excerpts. If you are interested in auditioning for an available position please mail resumes to: Irving Symphony Orchestra, 225 E. John Carpenter Freeway, Suite 120, Irving, Texas 75062. The ISO will continue to accept resumes throughout the year for substitute positions.
    Auditions to be held:
    Wednesday, October 6, 2004 (6:00 PM – 10:00 PM) at:
    Irving Arts Center
    Irving Arts Center Rehearsal Hall, Suite #200
    (Enter North Side of Carpenter Hall, Near Art Gallery)
    3333 North MacArthur Blvd., Irving, TX (972) 252-7558
    Contact Jim Gasewicz, Operations Manager,
    at (972) 504-6743 to schedule an audition time
    Above information may be subject to errors and ommissions. Confirm everything. At this time, ISO will only be auditioning for the above positions. ISO does not supply music/excerpts.

    If you'd like to be on the waiting list for consideration with ISO, email your information, skill level, playing experience and availability
    (this does not register you for an audition).



    Irving Symphony Orchestra

    Hector Guzman, Music Director and Conductor

    Auditions: 2005-2006 Season

    Openings:

    2nd Bassoon
    Only the highest quality applicants will be accepted for this audition.

    The Irving Symphony Orchestra is a per service orchestra. Approximately 20-24 services are planned for the year beginning October 7, 2004. Per service rates are $82/service for Principal and $72/service for Section. All applicants must demonstrate U.S. Citizenship or legal eligibility to accept employment with the ISO.
    At this time, ISO will only be auditioning for the above positions.
    ISO does not supply music/excerpts. If you are interested in auditioning for an available position please mail resumes to: Irving Symphony Orchestra, 225 E. John Carpenter Freeway, Suite 120, Irving, Texas 75062. The ISO will continue to accept resumes throughout the year for substitute positions.
    Auditions to be held:
    Saturday, September 17, 2005 (12:00 PM – 3:00 PM) at:
    Southern Methodist University
    Meadows School of the Arts - O' Donnell Hall
    6101 Bishop Blvd., Dallas TX 75205
    Please contact Jim Gasewicz, Operations Manager, at (972) 504-6743 to schedule an audition time.

    If you'd like to be on the waiting list for consideration with ISO, email your information, skill level, playing experience and availability
    (this does not register you for an audition). All website information subject to typos, ommissions and errors.
    Irving Symphony Orchestra
    Hector Guzman, Music Director and Conductor

    Auditions: 2005-2006 Season
    Currently no openings


    If you'd like to be on the waiting list for consideration with ISO, email your information, skill level, playing experience and availability
    (this does not register you for an audition). All website information subject to typos, ommissions and errors.


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    Re: Dallas College / DCCCD Richland Campus Music Advising Derrick Logozzo / Melissa Logan Out of State Tuition Nightmare

    After 100 plus hours at Richland and a Texas university as a performance major to hawking cosmetics fit for a street walker on Youtube......


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    Re: Dallas College / DCCCD Richland Campus Music Advising Derrick Logozzo / Melissa Logan Out of State Tuition Nightmare

    "Online Textbook Use and Online Student Success Rates in Community Coll" by Diane M. Hilbert

    Walden Dissertations and Doctoral Studies


    Online Textbook Use and Online Student Success Rates in Community College

    Diane M. Hilbert, Walden University


    Date of Conferral

    2020

    Degree

    Ph.D.

    School

    Education

    Advisor

    Alice Eichholz

    Abstract

    Online student success rates in community colleges have continued to fall below student success rates for their on-campus counterparts. The purpose of this causal-comparative quantitative study was to determine the difference in student success between students who used a hardcopy textbook for an online U.S. history course and students who used an online textbook at an urban community college in Texas while also investigating the influence of gender and ethnicity. Secondary data collected included final course grades from the course over a 10-year period with 9,115 students. The theoretical foundation focused on the deliberate construction of online course design and content to support student success from the perspective of Vygotsky’s scaffolding. The Mann-Whitney U test was used to analyze correlations between the 2 groups and the chi-square test was used to test if gender or ethnicity influenced the effects of the implementation of the online textbook on student pass/fail rates. The results of the Mann-Whitney U test indicated that providing the online textbook as compared to the traditional hardcopy textbook increased final course grades between the 2 groups. The results of the chi-square tests results showed a positive difference between groups for ethnicity but not for gender. The findings of this research inform educators and administrators of policies and practices that support student success by providing free embedded online course materials to students. Student completion of gateway courses can lead to further education, employment, and positive contributions as a member of society.

    Recommended Citation

    Hilbert, Diane M., "Online Textbook Use and Online Student Success Rates in Community College" (2020). Walden Dissertations and Doctoral Studies. 9148.
    "Online Textbook Use and Online Student Success Rates in Community Coll" by Diane M. Hilbert



    Download

    Fine Arts Dean, Diane Hilbert, has had this horrific mess dumped in her lap numerous times and according to Richland College President, Dr. Kathryn Eggleston, in July 2019 was supposed to make recommendations in line with what VP Donna Walker gave me in writing that students would be advised according to degree plans (Guided Pathways.) I also have in writing from the late VP Donna Walker that the music enrollments would to be monitored going forward. We can see what Dr. Hilbert was doing while she was supposed to be monitoring her subordinates.

    I do not think congratulations are in order. Dr. Hilbert has let Derrick Logozzo and Melissa Logan go completely rogue and hundreds of their advising victims have exhausted financial aid at Richland and will have to pay out of state tuition at their own Texas Universities (which financial aid will not cover) due to these predatory advisors filling their own music chairs. I think a better dissertation topic would have been how being put into excess hours by Logozzo and Logan has dropped the graduation rate for music students off of the proverbial cliff! DCCCD is a totally disorganized mess and has egregiously failed its students and the Dallas County taxpayers funding this horrific mess.

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    Re: Dallas College / DCCCD Richland Campus Music Advising Derrick Logozzo / Melissa Logan Out of State Tuition Nightmare

    Student rights in higher education | Project Gutenberg Self-Publishing - eBooks | Read eBooks online
    Laws and court precedent on students contract rights

    • Right to contract rights

    Carr v. St. Johns University (1962)[199] and Healey v. Larsson (1971, 1974)[200] established that students and institutions of higher education formed a contractual relationship. Institutions of higher education are responsible to ensure that contracts, including those implied and verbal, are fair,[3][4] in good faith[32][201] and not unconscionable.[43][202]


    • Right to adherence to institutional documents

    Students are protected from deviation from information advertized in the following documents: registration materials, manuals,[32][62] course catalogues,[16][203] bulletins, circulars, regulations,[25] Ross v. Creighton University class syllabi,[64][65][66] student codes,[18][43] and handbooks.[19][43] These documents may be binding implied-n-fact contracts. Goodman v. President and Trustees of Bowdoin College (2001), has ruled that institutional documents are still contractual regardless if they have a disclaimer. This decision found that “even though the college had reserved the right to change the student handbook unilaterally and without notice, this reservation of rights did not defeat the contractual nature of the student handbook.”


    • Right to fulfillment of verbal promises

    Ross v. Creighton University found that verbal contracts are binding.[26][204] The North Carolina Court of Appeals in Long v. University of North Carolina at Wilmington (1995), found, however, that verbal agreements must be made in an official capacity in order to be binding.[8] Dezick v. Umpqua Community College (1979) found a student was compensated because classes offered orally by the dean were not provided. Healy v. Larsson (1974) found that a student who completed degree requirements prescribed by an academic advisor was entitled to a degree on the basis that this was an implied contract. An advisor should, thus, be considered an official source of information.

    Laws and court precedent on students consumer rights
    JFK Consumer Bill of Rights John F. Kennedy’s 1962 Consumer Bill of Rights, which is not a legal document, asserts that consumers have the right to consumer safety, information preventing fraud, deceit and informed choice, to choose from multiple alternative options and the right to complaint, to be heard and addressed. A number of these principles are enshrined in the law of higher education.

    Laws and court precedent on student rights in academic advising


    • Right to fulfillment of promises and verbal promises by advisors

    Verbal contracts are binding.[25][26][29] They must be made in an official capacity, however, to be binding.[8] Dezick v. Umpqua Community College (1979)[28] found a student was compensated because classes offered orally by the dean were not provided. Healy v. Larsson (1974) found that a student who completed degree requirements prescribed by an academic advisor was entitled to a degree on the basis that this was an implied contract. An advisor should, thus, be considered an official source of information.


    • Right to a continuous contract during a period of continuous enrollment

    Mississippi Medical Center v. Hughes (2000)[30] determined that students have an implied right to a continuous contract during a period of continuous enrollment suggesting that students have the right to graduate so long as they fulfill the requirements as they were originally communicated.[31] Degree requirement changes are unacceptable.[22][32] Bruner v. Petersen (1997)[23] found also that contractual protections do not apply in the event that a student, who has failed to meet requirements, is readmitted into a program.[31] The student may be required to meet additional requirements which support their success. This may also help avoid issues of discrimination.

    • Right to notice of degree requirement changes

    Brody v. Finch University of Health Sciences Chicago Med. School (1998) determined that students have the right to notice of degree requirement changes (Kaplan & Lee, 2011[31]). If a student, for instance, is absent for a semester and is not continuously enrolled they need to know if degree requirements have changed.


    • Right to protection from arbitrary or capricious decision making

    Decision making should not be arbitrary or capricious / random and, thus, interfere with fairness.[3][4][6][32][33] This is a form of discrimination. While this case concerned a private school, Healy v. Larsson (1974), found that what applied to private intuitions applied also to public.[8]

    Laws and court precedent on student rights in recruitment


    • Right to basic institutional facts and figures before admission

    The 2008 Higher Education Opportunity Act (HOEA, 2008)[34] requires that institutions disclose institutional statistics on the Department of Education (DOE) website to allow students to make more informed educational decisions. Information required on the DOE website includes: tuition, fees, net price of attendance, tuition plans, and statistics including sex, ability, ethnic and transfer student ratios as well as ACT/SAT scores, degrees offered, enrolled, and awarded. Institutions are also required to disclose transfer credit policies and articulation agreements.
    Laws and court precedent regarding institutional regulations


    • Right to protection from arbitrary or capricious decision making

    Decision making should not be arbitrary or capricious / random and, thus, interfere with fairness.[3][4][5][6][7] While this case concerned a private school, Healy v. Larsson (1974), found that what applied to private intuitions applied also to public.[8]


    • Right to have institutions follow their own rules

    Institutions are required, contractually, to follow their own rules.[3][9][10][11][12] Institutional documents may also be considered binding implied-n-fact contracts. Goodman v. President and Trustees of Bowdoin College (2001)[13] has ruled that institutional documents are still contractual regardless if they have a disclaimer.


    • Right to adherence to bulletins and circulars

    Students are protected from deviation from information advertised in bulletins or circulars.[14][15]


    • Right to adherence to regulations

    Students are protected from deviation from information advertized in regulations.[14][15]


    • Right to adherence to course catalogues

    Students are protected from deviation from information advertized in course catalogues.[14][15][16]


    • Right to adherence to student codes

    Students are protected from deviation from information advertized in student codes.[17][18]


    • Right to adherence to handbooks

    Students are protected from deviation from information advertized in handbooks.[17][19]


    • Right to fulfillment of promises made by advisors

    Healy v. Larsson (1974)[20] found that a student who completed degree requirements prescribed by an academic advisor was entitled to a degree on the basis that this was an implied contract.
    This thread has detailed all of these issues and so many more. Advising students into dozens of excess hours not on any degree plan that leads to exhausting financial aid and having to pay out of state tuition, luring students in with programs that don't exist, and bringing in students for programs that they lack the background and skills to complete are very likely actionable!

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    Re: Dallas College / DCCCD Richland Campus Music Advising Derrick Logozzo / Melissa Logan Out of State Tuition Nightmare

    DCCCD Member of Board of Trustees, Dist 5

    Last UpdatedTuesday, December 8, 2020, 9:57:55 PM(26 minutes ago)



    Party / Candidate
    Votes

    NON
    William Wesley Jameson

    1,805
    45.08%

    NON
    Cliff Boyd


    2,199
    54.92%

    Votes Cast

    4,004

    Vote Centers Reporting

    Vote Centers Reported: 90/90
    As a Dallas College Trustee I Will:

    Advocate Dallas College policies that will significantly improve the economically disadvantaged students’ opportunity to educational attainment.
    Support Dallas College policies that will enhance the number and quality of employer partners available to credentialed students.
    Support Dallas College policies that will ensure guided pathways to completed credentials within 66 academic hours for career opportunities or transfers to universities.

    Advocate enhanced policies that will ensure that Dallas College workforce development efforts not only create new jobs, but jobs that will support new science and technology with accompanying higher wages.
    Advocate a stronger and more effective alliance and cooperative partnership with K-12 education organizations to ensure a higher number of college ready students.
    Why Did I Choose to Serve on the Dallas County College Board?

    While serving as Chairman of the Best Southwest (BSW) Partnership, a coalition of 12 cities and businesses in southwest Dallas County, I had the opportunity to work with the Presidents’ and senior staff members Dallas Collge. I observed great educational benefits that were either not known or fully understood by the stakeholders of Dallas County. I quickly recognized that Dallas College was like Parkland Hospital, one of the best kept secrets in the county. Also while involved with BSW I worked with all the local school superintendents in our organization and I observed an opportunity for better coordination between K-12 organizations and Dallas College.
    Another key player in the BSW partnership was our industry partners, the key ingredient to work force development. I realized that I had been blessed to have had the opportunity to see the synergistic value in these very interrelated entities and the tremendous potential that they could deliver to the stakeholders of Dallas County.
    I strongly believe that our areas of service along our life’s journey are not about individual areas served, but collectively what they prepare you to do in the future. That being said, I believe I can make a valuable contribution to the governance of Dallas College by utilizing my experiences in business and public service.
    What are my Qualification to be a Dallas College Trustee?

    Fifty plus years of business development and operation experience and over 23 years of local government elected and appointed positions. Specifically related to Dallas College I chaired one of Dallas Counties’ largest organizations, Parkland Health and Hospital System. In addition, I had the privilege of serving on the Hardin-Simmons University Board of Trustees in Abilene.


    We have a fantastic new board member in DCCCD. Congratulations to Cliff Boyd.

    I fully expect that predatory and totally dishonest music advisors Derrick Logozzo and Melissa Logan will be shown the door. Boyd understands why students must not exceed the 66 maximum transferable hours. There is no excuse for the hundreds of students that have come through the Richland Campus Music Department being placed into excess hours that exhausted their financial aid at Richland and that will land them in out of state tuition (which financial aid does not cover) at their own Texas Universities. Only a handful have graduated or transferred from Richland. Of those that did only a fraction ever graduated with a Bachelor's Degree. Boyd is the voice of reason we need on that board!

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    Re: Dallas College / DCCCD Richland Campus Music Advising Derrick Logozzo / Melissa Logan Out of State Tuition Nightmare


    Musician or Singer

    Odds of Getting In



    You start trying to make it big as a singer. We'll buy a lottery ticket. Let's see who strikes it rich first. Our money's on us.

    The sad part is that not only are your odds of becoming a huge success slim...your odds of even making a living at it are less than promising. Few singers/musicians are able to support themselves solely with their art. Meaning you're probably going to have get one of those "job" things you were trying to avoid in the first place by becoming a musician.

    In many ways it's a crapshoot, but if you're super-talented, charismatic, and driven, your odds go up. From 0.000001% to about 0.000002%.

    Musician or Singer Career

    ......The problem is that the only musicians and singers we see are the ones on television because those are the ones who have "made it." We aren't usually able to take intimate looks at the lives of those who are struggling, or those who have out-and-out failed. We don't see the near-starvation and substandard living conditions of those who can't make ends meet and don't really have any other viable skills (unfortunately, being able to flip your tongue over doesn't fall under the category of "viable").

    Sure, some make it big and many others are able to eke out a living, but for the majority, it's a constant battle to make money from week to week, and most either take another job for supplementary income or give up on it altogether. For deets, check out the throngs in line at American Idol auditions. And those are the people who generally stink. For every Bono, there are ten million others who tried and failed.

    We're not trying to stomp on your dreams—we're just trying to be real with you. We're all for thinking big and going out there to conquer the big scary world with your inimitable talents, but please, please, please listen to us when we say that you should have a Plan B.

    Get your college degree. Be really good at something other than music—something mainstream like business or science. (In fact, "business" isn't a bad idea—even if you do have success as a musician, you'll likely need to be your own businessman, marketing yourself and keeping tabs on your income and expenses.).....

    The reality is that most don't make it past the "demo" stage. We're talking years and years of rejection, dead ends, and your parents asking you why you don't go back to business school. (They might have a point.)
    https://pudding.cool/2017/01/making-it-big/
    According to data from the music event website Songkick, of the 7,000 bands that headlined a small venue (less than 700 capacity) in the NYC area in 2013, less than half even played another show from 2014 to October of 2016. Of the bands that did play again, only 400 of them headlined a show at a venue with a capacity greater than 700 people.
    https://ideas.ted.com/how-do-artists...ongoing-quest/
    ....earning a steady living wage is the highest standard of economic success for a working artist in any field. And only a fraction of those who go to school to achieve that actually do, as one study demonstrated.....
    https://www.forbes.com/sites/melissa...h=b32ccf214f26
    independent artists earned an average of $12,860 a year off music, and label artists earned an average of $23,913. About three-quarters of independent artists earned less than $10,000 a year from music, compared to 61% of label artists.
    The music advising at the Dallas College Richland Campus by Derrick Logozzo and Melissa Logan is outright fraud. Only a handful graduate Richland and or transfer. Of that handful that transfer only a fraction complete a 4 year degree. Hundreds of students come through the program and end up with 100-161 or some insane amount of hours that apply to nothing and won't transfer. All attempted hours count. At 150 credit hours students are charged out of state tuition at 4 year Texas Universities. At 180 credit hours financial aid ends. Derrick Logozzo and Melissa Logan flout degree plans. They refuse to follow administration's policies.

    Students should not take more than the 66 hours that will transfer period. Many will change majors so that they can actually get a real job and eat. Logozzo and Logan try to turn everyone into a music major and/or stick them in dozens of hours of music nonsense that won't transfer to fill their chairs for $$$$$ which has turned this department into a complete joke. Those that major in music are likely to spend 3 years at a real school racking up many more hours to finish a degree. So, they need to stick strictly to the degree plan and finish their 66 hours at Richland in two years.

    Melissa Logan keeps score of her students card games and keeps it a party atmosphere in the building when it should be a quiet study area. TVs are brought in by students to have gaming tournaments. Logan has her students singing in the halls disrupting professors that are in their offices and trying to teach classes so the campus police are called out frequently. Melissa Logan needs to quit this #edgeoffamous crap. The music students are almost all at the #edgeofdisaster!!!


    Last edited by Soapboxmom; 12-13-2020 at 08:50 PM.

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    Re: Dallas College / DCCCD Richland Campus Music Advising Derrick Logozzo / Melissa Logan Out of State Tuition Nightmare

    University Choir Director Helps Give a Voice to Dallas’ Homeless - News Center - The University of Texas at Dallas
    UT Dallas choir director Dr. Jonathan Palant is on a mission to help people through music. But his work doesn’t stop at the UT Dallas campus. The musician also leads a choir made up of the homeless who live on the streets of Dallas.

    Palant said music is an ideal way to provide respite to both students and the homeless.

    “The UT Dallas student comes to choir looking for a creative outlet — to escape chemistry or mathematics for just a short while.

    With support from Dallas businesses, concert presenters and individual donors, the Dallas Street Choir regularly performs throughout the city and recently toured the northeastern United States, with a stop at Carnegie Hall in New York City.

    “Everyone is welcome with or without mental illness. Quite frankly, this rule applies to every choir I direct. One of the wonderful things about singing is the inclusive nature of that act. Everybody is needed and everybody is equal,” Palant said.

    Palant said the University Choir reflects the same values of inclusion, camaraderie and enjoyment. He hopes to see growth in the University’s choir program, which is open to all students, no matter their ability or their level in school.

    “University Choir is a 1-credit class that offers a musical outlet, and the opportunity to sing some of the greatest music in the world, while experiencing cultural enrichment,” he said.


    Dr. Palant has a stellar reputation in the choral community nationwide. Dr. Palant is collaborating with the top composers and artists around the globe. He is doing incredible things. Why on earth did the college let him get away?

    Melissa Logan tries to make everyone a music major, which has been absolutely disastrous. Notice that at UTD students are welcomed into 1 credit hour of choir while they pursue real degrees and prepare for gainful employment. Melissa Logan putting students into dozens of hours of music nonsense when they do not have the background and skills to succeed is predatory. Her 100-161 credit hour musical misadventures leave her students having to pay out of state tuition at Texas Universities at 150 credit hours and without financial aid at 180 hours. All attempted hours count! The students can only transfer 66 hours total and the Associate's degree which transfers as a block is 60 hours.

    Age discrimination at Dallas College Richland Campus Choirs under Melissa Logan is alive and well. All community members (save 1 that had been there for many years under Dr. Crawford) have left. I was kicked out of my own choir twice & opera workshop as Continuing Ed and voice lessons. I left Richland with a vocal scholarship & have hours toward 2 Master's Degrees. I demand that Dallas College bring in a qualified musician to run a legitimate college / community choral program. I expect to be back singing in my choir and I most certainly will not be singing with Melissa Logan after the horrific treatment I received. The alumnae, current students and taxpayers deserve a first class choral program.

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    Re: Dallas College / DCCCD Richland Campus Music Advising Derrick Logozzo / Melissa Logan Out of State Tuition Nightmare

    Google says:
    Fundraiser by Paola Godinez : Help Pao start her journey with ...

    www.gofundme.com › help-pao-start-her-journey-with...

    20 hours ago — Luckily I got an offer from the Taos opera institute in Taos, New Mexico for a one month program in June. I never ... Melissa Logan. $100; 22 ...
    Apparently,one of Melissa Logan's advising victims in her third year at Richland is thinking a career in opera. She needs $3.000.00 donated for a $5,000.00 opera camp in June. If her family can't afford 1 little opera camp how are they going to afford her out of state tuition at a Texas University as no doubt she will be well past 100 hours by the end of her third year. She is a decent singer, but she is one of thousands of talented sopranos. She will have to have and be willing to spend a fortune to have any chance to even get into the fight for jobs years down the road in what is an incredibly competitive field.

    I Could Have Been a Great Opera Singer, If I Were Rich - The Billfold
    ....Saying you want to be an opera singer is like saying you want to be an astronaut, in terms of actual job prospects. There is one full-time repertory opera company in the United States — the Met in NYC. The other top U.S. companies — Houston Grand Opera, San Francisco, Chicago Lyric — all do between four to six shows a year, total. And the same soprano is going to headline most of them, since they don’t overlap

    The thing about opera is that it is really, really expensive. It truly is an elite art form. It costs $100 to $200 to audition, and you have to bring your own pianist, who is $40 an hour. At conservatory, we were always taught to take taxis to auditions, never the subway. We were also expected to do at least one summer opera program each year, in Italy, Germany, Austria or Belgium. These programs ran $3,000 each. Most of my classmates would do two or three each summer. We were taught that we should “rely on our financial buffer” after graduation, and were advised not to get jobs. A job will distract you from opera singing and make you tired, they said.

    The operatic voice isn’t fully developed until your mid- to late- thirties. A 22-year-old soprano is sort of a pointless fetus, not worth anything. You’re expected to spend your early- and mid-twenties doing pay-to-sings and grad programs, and then go into a Young Artist Program (YAP). YAPs are essentially residencies with regional opera companies, where you sing small mainstage roles or cover principle artists. You usually get paid like $10K for the entire year, and maybe they cover your housing or something. It’s not an opportunity I could ever afford to do. They’re also insanely competitive, and one of the very few paths to becoming a professional opera singer.
    To be an opera singer, you have to be rich. And I’m not. I wasn’t, and I’m not, rich.....
    What does an Operatic career look like? | The College Audition Blog
    I am trying to be realistic... there is a long, grueling process that most aspiring singers never hear about. This post is intended to help shed light on what it takes to build a career and some of the struggles you may encounter along the way. There is a great book for musical theatre students called Making it on Broadway that is full of stories about the difficult climb to the top, but I have never seen a similar book for opera singers. This post was inspired by that book and takes a similar approach to the subject – a cold, hard look at the dirty truth about the climb to the top.....

    According to Opera America, there are around 150 opera companies in the United States and Canada...Some of my friends have gone through the worst of the worst and have come out on the other side as successful singers. Others have decided that the career path was more than they could handle or that it required more than they were willing to sacrifice. Many of my friends who have come to one of those conclusions have still enjoyed performing part-time or have found other fulfilling careers that involve music: casting, artist representation, arts administration, music education, music therapy, and/or starting their own small businesses. Many of them would tell you that their academic training in vocal performance prepared them for those alternative career paths and they wouldn’t change a thing. Others would tell you that if they would have known in high school what they know now, they would have majored in something completely different...

    Step #1: Bachelor Degree
    The Bachelor degree is step #1. The bachelor degree builds your foundation as a professional musician. You will learn theory, history, languages, and acting while building a strong vocal technique. Unfortunately, the bachelor degree in performance is really only a starting place for your education as a professional musician....

    Step #2: Graduate School
    Grad school is where the real vocal development happens for many classical singers. With general education requirements out of the way, singers can spend more time focusing on their singing. Since the voice is usually more mature by the time a singer reaches graduate school, students can usually make significant technical progress during their degree....

    Step #3: Choose A, B, or C
    A) Performance Certificate/Artist Diploma – Many students choose to continue their academic study in a performance certificate or artist diploma program.....

    B) Doctorate – Many students stay in academia to pursue their Doctorate.

    C) Start auditioning for the YAP circuit.

    Step #4 – The YAP circuit
    The YAP circuit is slang for a roughly tiered level of Young Artist Programs that student singers (age 21-35) move through as they pursue a professional career...

    A) Pay-To-Sing – PTS programs require the singer to pay a fee (tuition) to sing in a season of concerts and/or operas. Famous programs of this type include Brevard Music Center, Aspen Music Festival, and Opera in the Ozarks. The fees for participating in these programs usually range from $2000-8000....

    B) Non-union YAP – YAPs come in union and non-union form. In a non-union YAP, there are no minimum requirements for artist treatment, housing, or pay for the artist. Last time I checked (2010), the lowest paying YAPs were somewhere around $600 for 8 weeks, with housing and lunch provided. Performers in this YAP had one day off during the 8 week period and worked around 10-12 hours a day (this information may now be outdated). The better paying YAPs offer between $1500+ for 8 weeks, with one day off a week,....

    C) Union YAPs – These are the highest level of the YAP circuit. The union, AGMA, limits rehearsals to six hours a day (as of 2010) and requires companies to pay established minimums that correspond to the size of the role. These programs tend to pay somewhere in the $250-525 per week range....

    Auditioning For YAPS

    I found that opera companies: -Charge you an audition fee to audition (usually between $25 and $100 per company) and they often require you to pay for your own accompanist, either bringing your own ($25-50) or paying for theirs (~$20). Therefore, I found that I needed to budget $50-$150 for each audition....


    Budgeting to find a gig
    Because of all of the costs involved, you will need to budget for each year’s auditions. Here is a sample budget:
    -Fees $1,125 (15 auditions with combined fees of $75 each)
    -Airfare $500
    -Ground Transportation $200 ($85 city transport pass and $115 for taxis)
    -Practice Rooms $150 (15 half hour slots to warm-up before your auditions at a cost of $10 per half hour)
    -Food $300 (Breakfast, lunch, and dinner over a two week period)
    -Lodging not included.......

    Just remember that you will only be making $600-2000 for the gig once you land it. So you may be performing at a loss when you factor in what you spent on auditioning.....


    Summary
    Pursuing an operatic career, in my opinion, is currently the most difficult of any of the possibilities for singers.
    If this student can't get a full-ride or very generous scholarship at a school like SMU, TCU or UNT she would be smart to consider changing majors so that she will be able to eat. Dallas College has way too many music majors that are in no way prepared to go forward in music. Students should be at Career Services, the real advisors' office and the Transfer Center considering realistic options and counting their credit hours!


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    Re: Dallas College / DCCCD Richland Campus Music Advising Derrick Logozzo / Melissa Logan Out of State Tuition Nightmare

    Breaking News! Richland College / Dallas College Richland Campus is no longer NASM (National Association of Schools of Music) accredited. https://nasm.arts-accredit.org/directory-lists/accredited-institutions/search/?institutionname=&city=&state=&country=&search=tru e



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    Re: Dallas College / DCCCD Richland Campus Music Advising Derrick Logozzo / Melissa Logan Out of State Tuition Nightmare



    I expect this lie-filled tripe will be removed post haste:

    NASM Accreditation

    The Richland Music program is accredited by the nation’s leading collegiate music accreditation agency, the National Association of Schools of Music.
    Most of the nation's leading university and collegiate music schools and departments are accredited by NASM. Richland is now one of four two-year institutions in Texas to have this national accreditation, and we are the first new accreditation in Texas in the past 51 years. Through meeting the national standards set by NASM, Richland is proud to serve the students with a certified music experience of excellence. The Richland Music program officially meets all of the same standards for the first two years of music study as does any four-year institution, making our transfers transparent. With over 20 performing ensembles that perform more than 80 times a year on and off campus and 400 students in the program, Richland continues to grow in its robust offerings to the local, state and national community.
    First two-years turns into 3-5 years and 100-161 hours when only 60-66 will transfer. All attempted hours count and at 150 credit hours Texas Universities charge students out of state tuition. At 180 credit hours regardless of whether financial aid was applied for or received it ends. Derrick Logozzo and Melissa Logan with their predatory advising and outright lies about these issues have destroyed the program and the accreditation is history!


    Richland College Music Department Receives National Association of Schools of Music Accreditation


    The Richland College music department recently received accreditation by the National Association of Schools of Music (NASM). This prestigious accreditation was announced at the NASM annual meeting in Arizona on Nov. 19.

    “This accreditation means that the Richland College music program meets all the same standards for the first two years of music study as any four-year institution, making our transfers transparent,” said Diane Hilbert, executive dean of the Richland College School of Humanities, Fine and Performing Arts. “It means that we now have a voice at the national table to participate in national and state concerns regarding music education and to work with our colleagues in planning for the future of music education and the needs of our students and the changing workforce they will enter.”

    For the past four and a half years, the music faculty have been working through the process to be granted accreditation by NASM. At the NASM Annual Meeting, 312 applications for new and renewal accreditation were reviewed by the NASM Commission on Community College Accreditation. Richland College was one of only two two-year institutions in the United States that were approved for new accreditation, and the fourth two-year institution in Texas to be nationally accredited by NASM. Other Texas two-year institutions to receive this accreditation include Del Mar in 1948, Odessa College in 1964 and Amarillo College in 1966.

    Before receiving this accreditation, Richland College completed a thorough application process. This involved Hilbert attending the American Association for Women in Community Colleges (AAWCC) Leaders Institute and completing a process map and budget project, inviting a NASM consultant to evaluate all aspects of the Richland College music program, completing a self-study, receiving a site visit from the accreditation team, responding to recommendations from the team and submitting recommendation updates to the commission.

    “This would not have been possible if it had not been for our music faculty and our students’ commitment to the quality and growth of the music program,” said Hilbert. “Additionally, the process of the self-study enabled us to identify opportunities for improvement and to plan strategically for the future needs of the program.”

    Founded in 1924, NASM is an organization of schools, conservatories, colleges and universities with approximately 650 accredited institutional members. It works to establish national standards for undergraduate and graduate degrees and other credentials for music and music-related disciplines, and to assist institutions and individuals engaged in artistic, scholarly, educational or other music-related endeavors. For more information, visit nasm.arts-accredit.org.

    The Richland College music department combines comprehensive academics, laboratory and ensemble work and applied instruction to prepare students for advanced musical study, build base-level credentials for working musicians and enrich general education for non-music majors. Programs offered include band, choir, jazz, orchestra and steel band. For more information about the Richland College music department, visit richlandcollege.edu/music.

    This entry was posted in Award/Honors, News and tagged Dallas County Community College District, DCCCD, Diane Hilbert, music, music program, NASM, NASM accreditation, National Association of Schools of Music, Richland College, Richland College music department, rlc on December 20, 2017 by Sydni.
    What a load of BS. Students waste their financial aid and in-state tuition eligible hours on music nonsense that does not lead to gainful employment or successful transfer and completion of a 4 year degree for the vast majority that get lured in. Only a tiny fraction of the 400-600 music enrollments that Logozzo claims ever graduate with a Bachelor's degree. One can count them on their fingers. The program is a compete disaster!
    Music department gets NASM accreditation

    January 18, 2018 The Richland College music department is now nationally recognized as one of the top music schools in the country. Richland received accreditation by the National Association of Schools of Music (NASM).

    Richland is the first new accreditation in Texas in the past 51 years and is now one of four two-year institutions in Texas to be nationally accredited by NASM.

    NASM is an organization of schools, conservatories, colleges and universities. It was founded in 1924 to ensure national standards for undergraduate and graduate degrees and other credentials for music and music-related disciplines and provides assistance to institutions and individuals engaged in artistic, scholarly, educational and other music-related endeavors.

    The accreditation is a result of five years of work. Richland was evaluated last year and narrowly missed out, but this year the music department made sure to fix all the issues after going through a rigorous application process.

    Department Chair Derrick Logozzo said, “The first three years, we had to apply, we had to go to some conference training [and] we had to bring in a person to come here from Philadelphia and say this is how you do it and we made some adjustments.”

    “The freshman and sophomore years that a two-year college student goes through here in our music department according to NASM are equivalent in quality and quantity to the first two years of freshman/sophomore years of any student going to an accredited NASM four-year university.”

    Ultimately, Logozzo said that Richland College “will have a bigger voice at the state level with our degree plans and going down to Austin and talking with any kind of congressional representatives because we have an accreditation that backs up what we are doing here on a daily basis.”

    The Richland College Music Department offers band, choir, jazz, orchestra and steel band programs; training students and building base-level credentials in student musicians to be creative outlets and music professionals.
    Try one of the worst music schools in the country. Though Richland has the best adjuncts on the planet, the predatory and dishonest advisors have sunk the program like the Titanic. Derrick Logozzo and Melissa Logan flat out refuse to follow degree plans, so what in the Sam Hell is that buffoon babbling about?

    The college is required by state law to give students accurate information about the 150 credit hour rule. Derrick Logozzo and Melissa Logan don't inform students and in fact outright lie to students and place them in dozens of excess hours to fill their own music chairs and get $$$$$ into the department. They are violating the law and the mandates of the DCCCD college administration.

    Texas Education Code SS 54.014 | FindLaw

    (e) Each institution of higher education shall inform each new undergraduate student enrolling at the institution in writing of the limitation provided by this section on the number of hours or type of courses that a Texas resident is entitled to complete while paying tuition at the rate provided for Texas residents.

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    Re: Dallas College / DCCCD Richland Campus Music Advising Derrick Logozzo / Melissa Logan Out of State Tuition Nightmare

    Mike Rowe: I Don't Want To Pay For Your Useless College Degree

    Mike Rowe: I Don’t Want To Pay For Your Useless College Degree

    December 16, 2020 By Jordan Davidson
    In a Facebook post Monday, TV host and personality Mike Rowe denounced student loan forgiveness and encouraged people to reconsider taking on debt for a four-year degree that may not even land them a job.

    “Many it seems, suspect that I’ll be supportive of these efforts since I’ve written at length about the outrageous rise of college tuition and the scandalous ways in which hundreds of thousands of students have been conned into borrowing ridiculous sums of money to purchase degrees that never lead to an actual job,” Rowe wrote.

    “Well, for the record, I do not support student loan forgiveness,” he added.

    Sharing a National Review article on the issue, Rowe explained that forgiving student loans is not only unfair to those who have already sacrificed to pay off their loans.....

    The fault belongs to you, and so does the debt,” he added.
    Instead of taking on debt for a four-year degree, Rowe encouraged people to explore all of their options including learning tangible skills and trades.

    “This is why I’ve spent the last twelve years discouraging people from slipping into hock at the outset of their careers. This is why I push back against the insane notion that a four-year degree is the best path for most people,” he said. “I don’t want to see more people borrow money they can’t afford to pay back. But nor do I wish to pay it back for you.....

    Rowe concluded by plugging his foundation mikeroweWORKS, which awards money to people “looking to master a useful skill.”
    “We have no objection to a broad-based, liberal arts education,” Rowe said. “We simply object to the cost, and therefore assisting students who wish to pursue a trade that doesn’t require a four-year degree.”

    Jordan Davidson is a staff writer at The Federalist. She graduated from Baylor University where she majored in political science and minored in journalism.
    Rowe had a short lived opera career. Nough said!


    Last edited by Soapboxmom; 12-29-2020 at 07:35 PM.

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    Re: Dallas College / DCCCD Richland Campus Music Advising Derrick Logozzo / Melissa Logan Out of State Tuition Nightmare


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    Re: Dallas College / DCCCD Richland Campus Music Advising Derrick Logozzo / Melissa Logan Out of State Tuition Nightmare

    Bad advising has collapsed the program. 18 ensembles were offered on the schedule for Dallas College Richland Campus until yesterday when 10 of those were removed from the schedule. The dirty advisors, Derrick Logozzo and Melissa Logan, filled their own class chairs and their 5 ensembles are still open. The incredible adjuncts that had ensembles that students needed to prepare to transfer and for professional development have all had their classes removed from the schedule. Absolutely criminal advising.

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    Re: Dallas College / DCCCD Richland Campus Music Advising Derrick Logozzo / Melissa Logan Out of State Tuition Nightmare

    The employees are speaking out. Absolutely!!!!

    The majority of students in music will not graduate as they should not have been put in the program by Derrick Logozzo and Melissa Logan in the first place. Of the few that do graduate or give up and transfer, only a tiny fraction ever earn a 4 year degree thanks to the predatory advisors, Logan and Logozzo.

    The communication and organization in Dallas College are an abomination. Their treatment of the adjuncts is totally unforgivable!

    January 9, 2021
    Helpful (1)


    "No Longer a Good Place to Work"

    Current Employee - Student Services in Dallas, TX

    Doesn't Recommend
    Negative Outlook
    Disapproves of CEO


    I have been working at Dallas College full-time

    Pros
    Good benefits, although those may soon be reduced

    Cons
    Since the reorganization from DCCCD to Dallas College, this has become an awful place to work. Jobs are very unstable. Quality of work no longer matters, only quantity. Changes to policy and procedures are constant and not well planned. Education is no longer the focus, even though it is a college. It is more like a social service agency that offers degrees as an afterthought. The education students get is low quality and does not prepare them to succeed at a university. Employees are treated like they are disposable and their mental and physical health is not important. Employee morale is extremely low. I used to love working here, now I can’t wait to leave.

    Advice to Management
    Start valuing your employees, focus on quality education, not social programs

  20. #320
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    Re: Dallas College / DCCCD Richland Campus Music Advising Derrick Logozzo / Melissa Logan Out of State Tuition Nightmare

    December 5, 2020


    "Disorganized & Stressful"

    Current Employee - Visitor Welcome Assistant in Dallas, TX

    Doesn't Recommend
    Positive Outlook
    Disapproves of CEO

    I have been working at Dallas College full-time

    Pros
    Decent Pay Hopefully they will improve with time

    Cons
    Leadership doesn't communicate and changes plans at the last minute. The college directly sets you up to fail. You are pressured to sacrifice for "the students" when you are given no resources to help students. The college is desperate about appearances.

    Advice to Management
    Give employees the resources to complete the jobs they are assigned. Stop trying to give a false impression of organization- this is holding you back from getting the job done. Admit when you don't know what/how to do something.
    November 25, 2020
    Helpful (2)


    "Recent changes are not tolerable"

    Current Employee - Professor of Art in Dallas, TX

    Doesn't Recommend
    Negative Outlook
    Disapproves of CEO

    I have been working at Dallas College full-time

    Pros
    I have worked at one of Dallas Colleges' campuses for years and loved every minute of it. However, recent changes made by the Board are not serving faculty or students.

    Cons
    Dallas College is going through a painful restructuring. Their process is very authoritarian and does not value the legacy of their employees. For example, staff members who have worked there 10 years are dismissed and given 20 minutes to clear their office.


    Former Employee - Director in Dallas, TX

    Doesn't Recommend
    Negative Outlook
    Disapproves of CEO

    I worked at Dallas College full-time for more than 3 years

    Pros
    Great work colleagues and environement

    Cons
    Upper management was clueless and didnt want to hear that they were not adhering to state education governance
    September 8, 2020COVID-19

    Helpful (2)


    "DCCCD Was Great, But The Change to Dallas College Is Terrible"

    Current Employee - Faculty Member in Dallas, TX

    Doesn't Recommend
    Negative Outlook
    Disapproves of CEO

    I have been working at Dallas College full-time for more than 5 years

    Pros
    Working full-time at DCCCD was my dream job. While the pay could be better and the benefits are not stellar, the local campus community, the staff, the Deans, and the other faculty were all enormously supportive, helpful, and truly cared about their colleagues of any level. Above all, every person on staff cares about the students we serve. Unfortunately, this past year, this has all changed.

    Cons
    The Chancellor's move this year to fundamentally re-organize the entire institution under his One College initiative as the new Dallas College has been so mismanaged and slap-dash that a once great institution of seven colleges is falling apart, for employees and the students they serve. By banging the drum of "equity," the Chancellor and newly installed upper management are fundamentally making it harder for students to succeed. Programs at specific campuses are unable to offer classes that students need to transfer or pursue their degrees due to an attempt to do away with each independent college and move faculty and staff around. Add to that the fact that there are still huge inequities across the entire District, with some faculty being offered overloaded courses and extra service this semester while others are being told absolutely no overloads or extra service are allowed. Although these changes have been in the works for a year or longer, the Chancellor has deemed it necessary to make fundamental changes during a pandemic and recession when staff are all scared about their health, layoffs are announced, and everyone has enough to contend with on a day-to-day basis. The coup-de-grace of all of this is that we started a new academic year with still an incomplete org chart. This all reveals that the Chancellor and upper administration could care less about anyone beneath them (since the new org chart stops at their level and goes no further). Sure, they say the full org chart will be finalized by the end of October, but at the moment everyone on each campus is flying blind as no one knows to whom they report or what their specific roles are.

    Advice to Management
    Respect your staff.
    Communicate more effectively.
    Respect your staff. Stop hiding behind "task forces" and "work groups" as a form of "shared governance" and if you employ these groups, actually consider their findings and implement them.
    Respect your staff.
    Stop trying to solve highly specific management issues by unnecessarily and completely reorganizing the entire institutional structure.
    Respect your staff.
    Do not dismiss that each campus still serves a highly unique local demographic.
    Respect your staff.
    November 17, 2020COVID-19


    Helpful (2)


    "Rip DCCCD.Edu"





    Current Employee - Anonymous Employee in Dallas, TX

    Doesn't Recommend
    Negative Outlook


    I have been working at Dallas College full-time

    Pros
    Affordable tuition , effective professors, clean

    Cons
    Restructuring using an outside consulting group has muted any input from staff. Accomplished staff with many performance awards have to reapply against outside applicants. Suspected age discrimination. No credit for past accomplishments. Using COVID as a cover to reduce course offerings especially the humanities and art. Looks like an outcome oriented restructuring that will leave a shell of a company rather than a citizen oriented college serving the diverse needs of Dallas County tax payers. Leadership is too heavy and getting much heavier by the day. Sad course.....

    Advice to Management
    Outside consultants are just parroting the redesign wants of the Chief Executive. Contracted HR services lack experienced people and the capacity to be effective, in effect hacking the heart from the DCCCD family.
    December 6, 2020


    "Advisor"




    Current Employee - Advisor

    I have been working at Dallas College full-time

    Pros
    Rewarding work and challenging work.

    Cons
    Terrible leadership and communication is poor.

    September 14, 2020
    Helpful (1)


    "Could be great"




    Current Employee - Anonymous Employee

    Disapproves of CEO


    I have been working at Dallas College full-time for more than 10 years

    Pros
    There are plenty of wonderful and talented employees who are capable of working as a team.

    Cons
    Management is not listening to front line employees, front line employees are not involved in decision making therefore change management and project executions are less successful.

    Advice to Management
    Appreciate questions and concerns from front line employees and SME and utilize their skills.
    April 8, 2020Helpful (1)



    • "Just awful"

      Current Employee - Professor in Dallas, TX

      Doesn't Recommend
      Negative Outlook
      Disapproves of CEO


      I have been working at Dallas College full-time for more than 5 years

      Pros
      Dean level administration on my campus is wonderful especially in the new normal of online teaching. Lots of support for students if they have time to stay on campus to access it.

      Cons
      Benefits are horrible, the Chancellor does not seem to understand that we are real colleges and not trade schools, and students are woefully underprepared even for an urban community college. Chancellor's office does what it wants and only pretends to listen. Faculty have to pay out of their own pockets for subs if they don't want to cancel class. In some buildings, offices are little more than cubes with doors leaving faculty to violate FERPA every time they talk to a student. Sick building syndrome is very real. Faculty are not allowed to drop students who stop showing up or recommend withdrawals.

      Advice to Management
      Stand up to the Chancellor! Find a way to get a faculty union; you'll never be taken seriously without one. Get rid of cube offices and get faculty quiet spaces to think and work. Rethink the amount of professional development required for faculty teaching in some cases 27 credits per semester. Stop pressuring faculty to teach overloads. Treat your adjuncts like professionals. Give tenure instead of a series of 1-, 3-, 5- and 10-year contracts. Offer paid sabbaticals.
    • February 9, 2020


    • "Disorganized, Lazy, Dis-functional Work Environment"

      Former Employee - Information Technology in Dallas, TX

      Doesn't Recommend
      Disapproves of CEO

      I worked at Dallas College full-time for less than a year

      Pros
      Vacations, holidays and nothing to do when you are at work. No expectations. Never held accountable for anything other than being at work during normal business hours.

      Cons
      Management won't make a decision unless they are part of a committee to distribute accountability. Takes forever to get a decision made or action taken. Across the board pay raises provide all the incentive for good employees to leave and bad employees to stay. Very disorganized. Co workers don't read emails, publish their phone numbers or otherwise make themselves available to communicate/cooperate. No one held accountable for bad performance, no performance, etc. Open fighting between department, employees and management.

      Advice to Management
      Privatize DCCCD

  21. It is a disorganized mess and the employees, Logozzo and Logan, who have openly defied the administration and their fellow staff and ignored state and federal guidelines, are still harming students and running the program into the ground. Losing 10 of the 18 long established and award winning ensembles is criminal! Time for some real reorganization and termination of the employees that should have been gone long ago!
Last edited by Soapboxmom; 01-09-2021 at 07:04 PM.
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  • #321
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    Re: Dallas College / DCCCD Richland Campus Music Advising Derrick Logozzo / Melissa Logan Out of State Tuition Nightmare

    Dallas College - Eastfield Campus Choral Music, 3737 Motley Dr, Mesquite, TX (2021)

    Dallas College Eastfield Campus has students transferring and doing incredibly well. Choir Director Melinda Imthurn was invited to conduct in Carnegie hall and has students making All-State choir. Her Dallas Women's Choir is tremendous. All choral activity at Dallas College should be under he fine leadership!

  • #322
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    Re: Dallas College / DCCCD Richland Campus Music Advising Derrick Logozzo / Melissa Logan Out of State Tuition Nightmare

    NASM: We have met with our administration and with the National Association of Schools of Music officials to go to the next step in our accreditation process under the new name of the college campus. We needed to resign our accreditation as Richland College Music because of the name change and will be reapplying and processing our accreditation with NASM as Dallas College Richland Campus due only to the new structural change in our district and name. I am very excited that we will be finalizing this step once we are all back on campus under normal conditions in the new structure.
    This is the version of events Derrick Logozzo is publishing in his weekly Music Department Update. The very top administrator that has called me several times in the past two years and spoken to me at length promised to make substantial changes to the music department. The predatory advising will not be tolerated and records are being pulled again as Donna Walker tragically lost her life to cancer this past summer and was not able to monitor the music advising as she had intended. It was indicated to me that the college would not be pursing NASM accreditation again as all 7 campuses would have to go through the process and it is extremely costly and not necessary for a very small community college program such as these 7 campuses host. The administration expects that going forward only students that are qualified are to be accepted as music majors and they are to be graduated with an Associates in 2 years and helped to transfer with only hours that are on their degree plan. Space for community members will be kept available. Dallas College is one college and it has 7 campuses that all host music classes and I was led to believe that redundant and poorly run parts of the programs will be eliminated.

    The schedule has already been drastically cut across the board and there will be more to come as I was promised that this was the perfect time to fix the glaring issues in the Richland Campus Music Department as we transition to one unified college. Music students may well be taking classes at more than one campus as this continues. Dallas College Richland Campus does not stand alone and cannot be accredited as a separate entity as students can take classes at all of the Dallas College Campuses. Faculty and staff across the campuses have been axed as the programs are combined and streamlined in this time of decreasing budgets. We now have a Provost and numerous new Vice Provosts under her for each academic area that was formerly under the deans of the individual colleges.

    The other 6 campuses have been following degree plans / Guided Pathways and putting students in college level Music Theories 1-4 and a single private lesson (MUAP) and a single ensemble (MUEN) each semester for only the two years the program is designed for. Associate's Degrees are 60 credit hours plus piano classes 1-4 may be advisable and 4 credits of recital that is normally required should be taken. That alone is 68 hours of the 66 maximum that will transfer.

    The 3-5 year 100-161 credit hour party at Richland is now over! The administration will also be looking at the deplorable graduation rate, transfer rate and completion of Bachelor's Degree numbers. The folks I have been communicating with in the administration encouraged me to contact them any time any further issues should come up. It is well known that communication needs to be improved and I was assured that this would be addressed. I expect the programs at all the campuses to be much smaller and micro-focused as this new college is put together to best serve the students and taxpayers.

    All attempted hours count. Students must remember that out of state tuition starts at 150 credit hours and financial aid ends at 180 hours. No one should leave Richland Campus with more than say 70 hours. Transfer students usually end up having to take more hours when they transfer than is on the degree plan and many change majors. Until everything is fully implemented students need to be extra careful to double check everything. They should always talk to the schools they wish to transfer to and be sure they are good candidates to get accepted. Career Services, the Transfer Center and the real advisors in Thunderduck Hall should be consulted before one registers for a single credit hour. The predatory music advisors at the Richland Campus cannot be trusted as the records posted here clearly demonstrate!

    Guided Pathway Map View – Guided Pathways – Dallas College

  • #323
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    Re: Dallas College / DCCCD Richland Campus Music Advising Derrick Logozzo / Melissa Logan Out of State Tuition Nightmare

    In today's ridiculous missive:
    From: Logozzo, Derrick [mailto:DerrickLogozzo@dcccd.edu]
    Sent: Wednesday, January 13, 2021 10:33 AM
    To: Logozzo, Derrick
    Subject: Credit Registration Deadline tonight for empty schedules

    ........Richland Music Performance Calendars
    Concert and Recital Series – Music at Richland – Dallas College........
    .....the Music Department includes presentations and performances on Tuesdays at 12:30 p.m. in Fannin Performance Hall unless noted otherwise. All recitals are free to the general public. The recital schedule is subject to change.
    Date Performance Location
    January 19 Music Department Orientation Fannin Performance Hall
    January 26 Richland Faculty Jazz Group Fannin Performance Hall
    February 2 Master Class Fannin Performance Hall
    February 9 Richland Voice Faculty Fannin Performance Hall
    February 16 Guest Presentation Fannin Performance Hall
    February 23 Guest Presentation Fannin Performance Hall
    March 2 Richland Percussion Group and Steel Band Fannin Performance Hall
    March 9 Richland Chamber String Ensembles Arena Theater, F-108
    March 23 Richland Wind Symphony and Chamber Ensembles Fannin Performance Hall
    March 30 Richland Jazz Ensembles Fannin Performance Hall
    April 6 Richland Instrumental Faculty Arena Theater, F-108
    April 13 Richland Guitar Ensemble Fannin Performance Hall
    April 20 Richland Opera Scenes Fannin Performance Hall
    April 27 Richland String Orchestras and Chamber Ensembles Fannin Performance Hall
    May 4 Vocal Honors Recital Fannin Performance Hall
    Thursday, May 6 Instrumental Honors Recital Fannin Performance Hall

    For more information about the Recital Series, contact professor, Melissa Logan, 972-238-6284.

    Contact Derrick Logozzo at 972-238-6254, derricklogozzo@dcccd.edu for more information
    Date Performance Location Time
    Tuesday, March 23 Spring Symphonic Instrumental Concert 1: Night Colors
    Wind Symphony, String Orchestras, Chamber Ensembles
    Fannin Performance Hal 7:30 p.m.
    Tuesday, March 30 Spring Richland Jazz Showcase: Night on the Town
    Faculty Jazz, Jazz Combos, Fusion Band, Big Band Jazz Ensemble
    Fannin Performance Hal 7:30 p.m.
    Tuesday, April 13 Spring Richland Guitar Ensemble Concert: Fires of Paradise Fannin Performance Hal 7:30 p.m.
    Saturday, April 17 Carnival of Steel Festival Guest Artist Concert: Pan Jazz II with the Richland Steel Sound Steel Band
    $10 Admission
    Guest Artist Performance Demo Clinic, 5 p.m., Fannin Hall, $5 Admission
    Fannin Performance Hal 8 p.m.
    Friday, April 23 Spring Richland Choral Concert
    Chamber Singers & Jazz Singers
    Fannin Performance Hal 7:30 p.m.
    Tuesday, April 27 Spring Symphonic Instrumental Concert 2: Capturing a Legacy
    Wind Symphony, String Orchestras, Chamber Ensembles
    Fannin Performance Hal 7:30 p.m.
    Friday, April 30 Spring Richland Opera Concert Fannin Hall, F-176 7:30 p.m.
    Tuesday, May 4 Spring World Beat Concert: Drumming from Another World
    Richland Percussion Group [RPG] & Steel Bands
    Fannin Performance Hall 7:30 p.m.
    Wednesday, May 5 Spring Student Composer's Concert: New Music Richland
    Works composed by students of Professor Omar Surillo
    Fannin Performance Hall 7:30 p.m.
    Saturday, May 8 Richland Music Season Finale Concert
    Wind Symphony, String Orchestra, Chamber Singers
    $10 Admission
    Fannin Performance Hall 7:30 p.m.
    Tuesday, August 3 Richland Summer Sounds Showcase Concert
    Community Jazz Band, Jazz Combo, Chamber Ensembles & Soloists
    $10 Admission
    Fannin Performance Hall 7:30 p.m.
    MUSI-9176-82001 (1298401)
    Recital

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    INET
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    McCampbell, Cynthia / Vita (PDF) RLC
    1
    Jan 19, 2021
    May 13, 2021
    (16 weeks)
    Open Seats: 24
    Capacity: 25
    eCampus
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    Logozzo needs to remove the concert schedules from his emails and online. The campus is closed. 4 of the jazz ensembles, the chamber brass, the chamber woodwinds, the guitar ensemble and the Percussion Group were pulled so they won't be performing. Opera was not offered and it should never have been. Brookhaven has an excellent program and that is plenty of spots in the college for opera (which is extraordinarily competitive and almost impossible to find gainful employment from.) Composition class was also pulled, so that evening performance like most of the rest will not happen.

    Melissa Logan is no longer in charge of recital. Recital was given to a much more qualified adjunct and then Dallas College foolishly removed it from the schedule last week (even though students are required to take recital for each semester of their Freshman and Sophomore years.) The program is a disorganized disaster.
    Last edited by Soapboxmom; 01-14-2021 at 05:12 PM.

  • #324
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    Re: Dallas College / DCCCD Richland Campus Music Advising Derrick Logozzo / Melissa Logan Out of State Tuition Nightmare

    A trusting student contacted a professor they knew in the music department to get help signing up for a piano class only. Derrick Logozzo stepped in and put the student into a piano class and his Steel Band. Again, he is putting students in his own classes to fill chairs. This student is no longer a music major and cannot afford to take a single extra credit hour that is not on their degree plan or Guided Pathway. This student was never qualified to do a music degree to begin with and had already been seriously harmed by Logozzo putting them in numerous credit hours that they will not be able to apply to anything.

    Exhausting financial aid and landing students in out of state tuition is predatory. Students need to be gaining skills that will lead to gainful employment. A single music class as CE is a nice break. Multiple hours of chair filling is keeping students from coursework that will benefit them.

    This student just wanted to learn a little more about music and take some piano. A kind fellow student encouraged that student to take only the piano class and do so as Continuing Ed. Students have been conned and used for years by Logozzo and Logan. These predatory advisors need to be terminated!

    Derrick Logozzo is not supposed to be registering people per the VP. He constantly deluges students and former students with emails to hound them into music classes. This student is not a music major any longer and should always take music classes as CE to avoid accruing hours that apply to nothing (except exhausting financial aid and in-state tuition eligibility.)

    Richland VP Donna Walker states in writing in July 2019:
    Music coordinators have been instructed to follow the Guided Pathway and may not require students to enroll in courses outside of the Guided Pathway.The Guided Pathway indicates that students are not required to enroll in more than 4 semester credit hours MUEN and 8 semester credit hours MUAP to complete that component of the Field of Study in Music....
    Concern: Derrick Logozzo is registering students in excessive hours in music ensembles. Should students choose to take additional courses, they have the option to enroll in continuing education sections of MUEN and MUAP and not accrue credit hours...Student enrollments will continue to be monitored to ensure alignment with the Guided Pathway.
    Student enrollments will continue to be monitored to ensure alignment with the Guided Pathway...

    Music faculty are the content experts and will only advise students for music courses. Music faculty will not register students for music or core classes.Guided Pathway advisors will be available for students to be advised for core classes prior to enrolling in music classes. Students and Guided Pathway advisors will register students for music and core classes.
    Last edited by Soapboxmom; 01-14-2021 at 09:07 PM.

  • #325
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    Re: Dallas College / DCCCD Richland Campus Music Advising Derrick Logozzo / Melissa Logan Out of State Tuition Nightmare

    Dallas College fail.... 10 of the 18 ensembles at the Richland Campus were removed from the schedule early on January 8th. I signed up for 3 of those. When I saw them disappear I dropped one of the ensembles as I knew it would be cancelled and changed over to a full hour private lesson with that incredible professor. That group had already planned to keep the band together through private lessons and recording.

    Today, I open up Blackboard and even though those ensemble classes have obviously been cancelled, they all still show as open and starting tomorrow. In Econnect they show on my class schedule. I contacted the other student in the class that had not gotten together and made plans yet. They had no idea that the class had been cancelled 10 days ago. They would have driven up to campus on the first day (tomorrow) for a class that doesn't exist. None of us were ever notified or refunded.

    Dallas College is a disorganized mess and the predatory advisors are still there harming the trusting students.

    Current Schedule

    Term Course-Number-Section (Reg #)
    Title
    Class Meeting Information Faculty Capacity/Availability Location
    Credits
    Start/End
    Date
    Last Date to Drop Without a Grade Status Co-req
    Sections
    Prereq.
    met
    Class
    Features

















    All MUAP courses require co-enrollment in MUSI 9176 and at least 1 instrumental ensemble.


































    All MUAP courses require co-enrollment in MUSI 9176 and at least 1 instrumental ensemble.
    2021SP
    MUEN-1123-82001 (1299570)
    Band

    F176 LAB
    T R
    12:30PM 01:50PM



    Capacity - 25
    Availability - 23

    RLC
    1.00
    01/19/21
    05/13/21

    02/01/21
    Pending
    NOTE: Jazz Combo. Audition required. Contact Coordinator Derrick Logozzo at 972.238.6254, derricklogozzo@dcccd.edu for information.
    2021SP
    MUEN-2123-82001 (1299816)
    Lab Band

    F170 LAB
    T R
    10:00AM 11:20AM



    Capacity - 25
    Availability - 22

    RLC
    1.00
    01/19/21
    05/13/21

    02/01/21
    Pending
    NOTE: Fusion Band. Contact Coordinator Derrick Logozzo, 972.238.6254, derricklogozzo@dcccd.edu for information.













    My Class Schedule: Results


    To view your class details follow the link under the first column.


    ID: Name: Heather


    Term
    Spring 2021

    Total Registered Credits 8.00
    Total Registered CEUS 0.00

    Course-Number-Section (Reg #)
    Title
    Class Meeting Information Faculty Capacity/Availability Location
    Credits/CEUS
    Term Start/End
    Date
    Co-req
    Sections
    Prereq.
    met
    Other
    Charges
    Class
    Features
    Important
    Dates
    MUEN-2123-82001 (1299816)
    Lab Band
    F170 LAB
    T R
    10:00AM 11:20AM



    Capacity - 25
    Availability - 22

    RLC
    1.00
    2021SP
    01/19/21
    05/13/21

    IncludED 70% Refund Date: 02/04/21
    25% Refund Date: 02/10/21
    Last Day to Drop: 04/15/21
    Progress Reporting Period 1: 02/14/21 - 02/27/21
    Progress Reporting Period 2: 03/14/21 - 03/27/21

    NOTE: Fusion Band. Contact Coordinator Derrick Logozzo, 972.238.6254, derricklogozzo@dcccd.edu for information.
    MUEN-1123-82001 (1299570)
    Band
    F176 LAB
    T R
    12:30PM 01:50PM



    Capacity - 25
    Availability - 23

    RLC
    1.00
    2021SP
    01/19/21
    05/13/21

    IncludED 70% Refund Date: 02/04/21
    25% Refund Date: 02/10/21
    Last Day to Drop: 04/15/21
    Progress Reporting Period 1: 02/14/21 - 02/27/21
    Progress Reporting Period 2: 03/14/21 - 03/27/21

    NOTE: Jazz Combo. Audition required. Contact Coordinator Derrick Logozzo at 972.238.6254, derricklogozzo@dcccd.edu for information.
    Last edited by Soapboxmom; Yesterday at 04:25 PM.

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