Rehearsal and Performance Guidelines

• Building Policy
• Keys and Access
• Lockers
• Work Orders
• CCM Digital
  
• Scheduling
• Stage Setup Information
• Use of Off-Stage Areas for Performance
• Student Recital Scheduling
• CCM Student Recital Regulations and Policies
• Recital Cancellation/Rescheduling Policy
• Programs
• Care For Pianos
• CCM Ushering FAQ
• CCM and UC Operations Contact Information

Building hours are posted throughout CCM buildings and are updated for holiday/recess weeks.  Card access is required for after-hours entries and Memorial Hall is a secured building requiring key card access 24/7. Closing hours will be strictly enforced, and any students found in the buildings after building “lock” times will be subject to disciplinary action including, but not limited to, having village access revoked.

Open: 7 a.m.
Lock and Close: 12 a.m.

Open: 6 a.m.
Lock: 7 p.m.
Close: 12 a.m.

Open: 6 a.m.
Close: 12 a.m.

The CCM Village is often an easy target for thieves because of our location on the campus and because we continually invite the outside public in for our performances.  Having many non-CCM visitors around can lead to issues. Always be aware of your surroundings and of the safety of yourself and those around you.  If you see something odd, or suspicious, call UCPD (6-1111).

Doors should never be propped open and should remain locked when possible. Exterior doors, doors into the performing venues, or any door that requires Bearcat Card Access are especially important to keep closed and locked. If you see a door propped open, please close it. Because of the remote location of many offices and libraries, it can be easy for someone to snatch something very quickly. 

If you need to leave your office, even briefly, lock your door behind you. If you are in Memorial Hall or DVAC, which lock early, do not leave your belongings lying around. Apart from CC1630 and CC1340, all rehearsal rooms are to be locked at the end of scheduled use.

Performance Management staff should always be wearing their name badges to be quickly and easily identifiable, if you see them in the hallways and need something locked up, or have a question or concern please ask. If you see a door open and unlocked that is not reserved – stop in at the Performance Management office to ask the Operations Staff working in the office to lock it up.

We strongly recommend that you do not keep personal belongings, particularly those of value, in any CCM offices unless you are actively working in that office. Leave personal belongings at home or get a locker and lock your belongings in them instead.

Be cautious when leaving anything out backstage or in a front of house location in any of the venues, and never leave keys lying around. Put them in their appropriate home or always keep them on your person. 

In case of theft, UC insurance does not cover loss of personal belongings. If you have a theft of possessions, report it immediately to the UCPD by calling 513-556-1111, then follow up by reporting the theft to Senior Director Ray Dobson (513-556-9460). If there is an immediate medical and/or safety emergency, call 911. From your cell phone, call 513-556-1111.

Performers should always access performance halls using the backstage entrance for both rehearsals and performances. Entrances from the lobby should only be used for public performances and master classes.

Students may obtain keys when an email request from their supervisor or an authorized CCM faculty or staff member is sent to Ray Dobson at CCMKeys@uc.edu.

• Requests will require the key holders name and M#. A key cannot be ordered without an M#.
• Please enter the keycode if you know it, if not, then the building and room number will be needed.
• Please plan ahead and send requests as soon as possible.
• Expect at least 4 to 5 day processing time.
• For Students: There will be an $80 key deposit deposit fee debited from the associated catalyst account and will be returned once all keys are returned. The keys should be returned at the end of the assignment or graduation, and a credit will be issued upon receipt of the keys. If the assigned keys are not returned, the students will not receive their deposit back.
  
• Pickups will be done in Performance Management as in the past during normal posted key hours. The office is in CC3820 (ex. 6-9460).
• All Operations staff are responsible for their own office keys and access to 3820CC. There is an additional Key Policy and contact paperwork that all staff and GAs in the Performance Management office must sign off on, which is a separate document. There is a charge for any lost keys that need to be replaced

When keys are lost/missing or stolen, the key-holder should immediately report the incident to their professor and the CCM Performance Management office. Once the incident is reported to the Performance Management office, the key-holder should be prepared to pay replacement cost for the key/keys via their catalyst account. The student is then given replacement keys. If the key is not in stock, the student will be informed when to return to retrieve the keys.

No food or drink is permitted backstage, on stage, or in the house of any CCM venue, practice rooms, rehearsal rooms, or classrooms. Drinks are not permitted around pianos in the rehearsal rooms. No exceptions.

All pre- or post-concert receptions, anywhere in the facility, MUST be arranged through the Scheduling Office no later than two weeks prior to the event. Reception space is limited and subject to availability at the discretion of the scheduling manager.

CCM’s events must follow UC’s alcohol policy.

Do not tape signs or announcements to walls, windows, doors, floors or ceilings anywhere in the CCM facilities. Signage may only be placed on approved boards. The use of music stands as temporary sign holders is allowed -- however, these stands must be collected and returned to the proper location after the event. There are a variety of easels and sign holders that can be borrowed and returned to the Performance Management Office with advanced notice, and on an availability basis. Improperly placed signs will be removed and discarded.

Do not use masking tape to mark orchestra or ensemble setups on any of the stage floors or rehearsal rooms. If necessary, use spike tape or gaffers’ tape that can be removed easily. All tape must be removed immediately after the event.

Memorial Hall practice rooms are available to CCM students ONLY. Use of practice rooms for personal teaching is prohibited. All personal private teaching at CCM must be registered through the Prep Department.

Practice rooms will be assigned by instrument and by studio. Each room will be dedicated to a specific group of students, which will facilitate efficient contact tracing if necessary.

Neither food nor drinks are allowed in the practice rooms.

Do not place anything on top of or in the pianos. CCM made a multi-million dollar investment in some of the finest pianos available. Please respect these instruments. Do not move a piano or its bench. If there is an issue with a piano, please notify the piano technicians.

Do not cover the windows of the practice rooms. This is a violation of the fire code and is for your personal safety. Should there be an emergency, first responders must be able to see whether rooms are occupied. This policy is also in place for the convenience of students attempting to determine if a practice room is actually in use. For your safety, always lock the door with the thumb latch when you are in the room.

These rooms are available on a first-come/first-served basis and cannot be reserved in advance. Some of these rooms are designated as piano practice rooms and are only available for piano students with keys.

Practice rooms are not to be left unoccupied for longer than 15 minutes. Any practice room left unoccupied for longer than 15 minutes can be used by another student. Practice rooms cannot be “held” with your instrument while you go to class. You risk having personal items disappear if you leave them in a practice room, and it is discourteous behavior toward your fellow students. After you have finished practicing, please close the windows, pull the shades, and turn off the lights.

The CCM administration is well aware that open practice rooms can be hard to find at certain peak hours. This is why it is important for everyone to adhere to these protocols for room use. If you can see into practice rooms, and if you limit your breaks to periods of no more than 15 minutes, everyone will benefit. Thank you for your application of these procedures.

The following process must be done in sequential order.

1. Find an empty locker without a lock on it.
2. Put your lock on it. Make note of the locker number and location.
3. Register your locker at signupgenius.com on your mobile device or computer.
   1. Go to www.signupgenius.com.
   2. Click “Magnifying glass” icon on the top right of the page and search for CCMOperations@ucmail.uc.edu
   3. Click on the signup list corresponding to the area of CCM village where your locker is.
   4. Register your information under your locker number.
   5. Save the confirmation email, as this will allow you to cancel or change if needed.

Please note that if you look for an available locker on SignUpGenius first before you place your lock on the locker, this is done incorrectly.

To keep your locker from a previous year, you must re-register it online. Lockers from the previous year which have not been renewed and unregistered lockers will have their locks cut.

Email CCMOperations@ucmail.uc.edu if you have any questions.

To place a work order, call UC Work Control at:

• 513-558-2500 – Monday-Friday 7 a.m.- 4 p.m.
  
• For after hours for emergencies call 513-556-1111 UC Dispatch.
  
  • Ask for Emergency Maintenance and give them the nature of the emergency – elevators not working, any kind of flooding in the restrooms or elsewhere, and water intrusion of any kind should always be reported immediately.

For maintenance needs in your office, studio or rehearsal rooms, call Work Control at 513-558-2500 to schedule a time when you are available to meet the maintenance staff. Because you are the “occupants” of these rooms you will often notice the problems before anyone else, and you can give a first-hand report that will help Work Control understand the problem.

Always leave an e-mail (lucas2j2@ucmail.uc.edu) or voice mail (e-mail is preferred) for Jessica Lucas at 513-556-9429 letting her know about the problem and that you called it in. This will allow her to do any follow-up. If you haven’t seen the problem fixed within a reasonable amount of time, usually about a week, let Jessica Lucas know. For maintenance needs in all other spaces, place a work order as described below and call Jessica Lucas and report the problem.

IF YOU NOTICE AN EMERGENCY SUCH AS FLOODING OR AN ELEVATOR NOT WORKING CALL IN THE ORDER ASAP AT 513-558-2500. DURING NORMAL BUSINESS HOURS, AFTER HOURS CALL UCPD AT 6-1111 

The CCM Plaza and the Corbett Drive turn around are Fire Lanes and are not to be used for parking. Vehicles will be ticketed. Please inform visitors that they should use the CCM Garage, another UC garage, or street parking. Deliveries should be directed to CCM Loading Dock A that can be accessed via Corbett Drive and then down the service drive behind CCM.

The CCM Garage is operated by UC Parking Services. (51 Corry Blvd). Aside from a fifteen-minute grace period, parking in CCM garage always requires payment. For special needs and events please contact Parking Services. For CCM Ticketed events there will be a Box Office assistant that will be working with UC Parking.

CCM Digital is an in-house video production entity that plans a season of live streams, promotional videos, short documentaries, and concert recordings for use on CCM’s Premium YouTube and other venues. The program is planned in collaboration with directors and faculty and will be public information at the start of every semester. It is subject to change as needed.

Video recordings outside of the pre-selected season can be requested by filling out the CCM Digital Request form. Because of limited resources, not all requests can be honored, and ensembles are permitted to hire an outside vendor at the department’s expense.

Departments who wish to use an outside vendor must also fill out the CCM Digital Request form. CCM Digital assists vendors with various logistics, including communication with Operations Staff, venue scheduling, and proper branding of completed work.

Please note – all recordings intended for public viewing, including use online and social media, must have full recording rights. This means that either the repertoire is in the public domain or the ensemble has a license to record and stream it. This includes music that is not primary, but is a secondary part of the recording, such as music used in a dance performance.

Departments requesting an archival recording of a performance, either audio only or with a single unedited camera that is primarily archival and not for public use, must also fill out the CCM Digital Request form.  Upon approval, this work will go to CCM Recording Production.

The Recording Production Department provides audio recording and archival services for many performances that take place within CCM. Prior to each academic quarter/semester, a Recording Production Schedule is distributed. This schedule primarily includes the performances of TAPAA and the CCM instrumental ensembles.

A CCM Digital Request Form may be submitted for performances not listed on the schedule. These requests MUST be submitted by a CCM ensemble director or faculty member, at least one month prior to the performance.

The Requestor may make arrangements for download of the file from CCM’s internal repository. Staff will assist the CCM Recording Production Department when needed.

Plans for audio or video recordings (either directly by an ensemble or individual performer) must be made in writing, notifying CCM Performance Management Office. Certain safety protocols must be followed such as taping down all loose cables and keeping equipment out of fire egress pathways. This will be indicated on the House Management and Stage Management report for the event or performance. In all cases, CCM's Non-Academic Caption Policy MUST be followed.

• Internal audience: CCM Students, Staff, faculty, families, and other audiences in which there is a pre-established relationship that existed prior to an associated event.
• External audience: there is no established relationship outside of an associated event.

To provide uniform guidance across CCM’s videos that are generated for distribution outside the classroom.

• The following videos must be captioned in accordance with the most current CCM Style Guide or the Described and Captioned Media Program Caption Key:
  • Videos intended for the general public.
  • Videos distributed on a public platform accessible by the general public unless there is a mechanism initiated to block or otherwise restrict unauthorized access.
  • Videos distributed to an external audience with 25 people or more.
  • Videos broadcast over television, cable TV including Campus Cable, or commercial streaming media platforms.
  • Videos to be shown on a welcome screen or similar technology
  • Videos that are displayed on welcome screens or otherwise presented in a manner which individual users will not have the option to enable closed caption must be open captioned.
  • Videos previously captioned as an academic classroom accommodation must be captioned in accordance with this policy once video moves to a non-classroom distribution.
    
• Exceptions can be made on a case by case by CCM IT and CCM Public Relations. Decisions can be appealed to UC's Accessibility Coordinator.
  
• Divisions must maintain a point of contact to receive and respond to notices of problems or concerns with captions.
  
• Divisions will be responsible for any necessary corrections and updating all locations where video is located within a timely manner.

Many different groups from within the college, the University at large, and the greater Cincinnati community use rooms and performance spaces in the CCM Village. The Scheduling Office is responsible for scheduling all spaces with the exception of offices and faculty studios. When you need to use a room, you must contact the Scheduling Office to reserve the rooms and spaces you need prior to use. Extensions of existing scheduled events such as sectionals, warm-up or holding rooms, dressing rooms, etc. must be specifically scheduled. They are not automatically scheduled with the main event and are only available if the academic schedule permits. Anyone found using a room or space that has not been properly scheduled will be removed immediately by operations staff. Always restore the room to its “default” after use—rack chairs and stands or move desks back to their standard configuration.

When you contact the Scheduling Office, please have your UC email and M# ready. First tell what date you are looking to book, what type of activity you are planning (rehearsal, meeting, recording, etc.), then specify which space(s) you prefer to use. If you need to use piano, harpsichord, or any special equipment such as stereos, or computer teaching stations, please indicate this when you request your room.

The Scheduling Office staff will always take your preferences into consideration, but room assignments are always subject to availability and appropriateness for the activity you are planning. The Scheduling Office Graduate Assistants can help with most room requests, but the Scheduling Manager must approve all requests for supported spaces or recurring event requests.

Supported theater spaces are: Corbett Auditorium, Patricia Corbett Theater, Werner Recital Hall, Cohen Family Studio Theater, and the Baur Room. All receptions must be approved by the Scheduling Manager regardless of the building location.

Students may schedule up to 2 hours of individual rehearsal/recording time, up to 2 weeks in advance. Recital dress rehearsals can be scheduled up to 2 months prior to the recital. Dress rehearsals count towards the student’s 2 hours per week reservation limit.

CCM classrooms and conference rooms can be scheduled for appropriate activities led by a CCM faculty member or graduate teaching assistant. Always leave classrooms in the standard classroom configuration after use. All CCM classrooms and conference rooms must remain locked when not in use. All classrooms are equipped with smart equipment. Most have pianos. Any other educational equipment needs should be arranged through your academic division office.

The Scheduling Office schedules the following types of equipment for performances and other activities:

• pianos, harpsichords, fortepiano (and their tuning)
• tables
• chairs
• music stands
• portable stereo equipment

The Scheduling Office staff will be happy to answer questions related to these services or to direct you to the appropriate staff person to help you.

Any CCM students who wish to take on students for private lessons should make arrangements to teach through the Preparatory Program. Their offices are located in CC 3860. Room assignments for private teaching will be made through the Prep Office. Private teaching is not allowed in UC facilities except through Collegiate and Preparatory programs. Unauthorized private teaching on state property is a violation of Ohio state law.

To record for a competition or audition, you may schedule Watson Hall, the Master Classroom (MEH 3250), the chamber music rooms, or if you have a key, any of the large ensemble rooms. Students may reserve a maximum of two hours recording time per week; reservations can be made within two weeks before the desired recording time. Please plan rehearsals well before competition deadlines, as availability of these spaces is limited, and certain other activities are given priority. Also, please use your time in these spaces wisely. Rehearse in a practice room prior to the scheduled recording time so that you can get an excellent recording in only one or two takes.

Current piano students can request recording time in Werner Hall.

Two chamber music rehearsal rooms (MEM 250 and 454) are available in Memorial Hall for student chamber groups. They are equipped with grand pianos. You can schedule these rooms through the Scheduling Office during regular office hours. Students should provide their own music stands for rehearsals in chamber music rooms.

The large ensemble rehearsal rooms in Corbett Center (rooms 1340, 1402 and 1630) are available for large groups and groups requiring large amounts of percussion equipment. The choral rehearsal room (DVAC 100) is available for choral group rehearsals. Due to increased use by regularly scheduled classes and ensembles, availability of these rooms is very limited. All of these are locked rooms. To use them, you must work with a faculty member or graduate teaching assistant who can unlock the room at the appointed time and secure it after the rehearsal. For the security of our people and equipment, it is imperative that these rooms be secured after each use.

The drama classrooms (rooms 4735 & 4755) near the TAPAA divisional office are available for student theatrical rehearsals. TAPAA students should receive approval from their faculty prior to requesting a space. Out of consideration for others who use these rooms, please clear the rooms of all rehearsal props and costumes after each use. The larger TAPAA rehearsal rooms on the 3000 level are available only for projects sponsored by TAPAA departments and under the direct supervision of faculty, stage managers or graduate directing assistants.

Student recitals are scheduled one semester in advance. DMA lecture recitals may be scheduled the semester of the performance (at least 3 weeks in advance and after proposal is approved).
Sign-ups for scheduling meetings will be online; students will receive an email to your UC email address with instructions prior to this date. Priority for recital scheduling is given by degree (AD, DMA/PhD, MM, BM, Non-required).

Most recitals are scheduled in Robert J. Werner Recital Hall, Watson Hall or the Master Classroom (MEH 3250). Special arrangements to use Patricia Corbett Theater or Cohen Family Studio Theater are made for recitals requiring larger setups, such as percussion, jazz, conducting and some composition recitals. Non-degree required recitals are not permitted during the spring semester.

CCM allows two hours of dress rehearsal time in the performance hall for each student recital. Rehearsals must take place within the regular operating hours for the performance space. For Recitals Scheduled in Patricia Corbett Theater or the Cohen Family Studio Theater, dress rehearsals will be limited to the day of the performance due to the set-up requirements. Students will have access to the performance venue ½ hour prior to their performance time.

• Intermissions and encores are NOT allowed at student recitals.
• Flowers are the responsibility of the sender.
• Attire for recitals should be appropriate according to the standards of the student and Faculty

• How to Schedule Recital
• Programs
• Recital Policy
• Recital Reschedule/Cancellation Policy
  
• Student Recital Reservation Form
• Student Recital Reschedule Form
• Student Recital Cancellation Form

Performers are required to submit a Stage Setup Form to the CCM Scheduling Office two weeks prior to the performance. The information on the form ensures that the equipment requested is available and in working order and that all pianos and/or harpsichords are tuned and ready for performance. This will then be attached to the Stage Manager Report Form for the appropriate performance.

After checking in at the Performance Management office, stage managers are responsible for bringing the Stage Manger Report and Stage Setup form to the venue. This information might require slight alterations on the night of the concert or recital.

It is the responsibility of the stage manager to make sure that all setup information concerning the backstage, stage, or house is executed, and to check with the performing artist, Ensemble GA, or the director if there are any questions. It is the responsibility of the performance artist, Ensemble GA, or the director to provide that information to Performance Management in a timely manner, otherwise last-minute requests cannot always be fulfilled.

Setups for performances will be completed no later than one half-hour before the performance by a member of the Performance Management team. All stage equipment is to be struck immediately after every stage rehearsal and performance unless arrangements have been made through the Scheduling Office. Equipment is always to be returned to its proper storage area.

The large “permanent” shell in Corbett Auditorium has two configurations. The schedule for changing the shell configuration is determined by the Scheduling Committee at the time of creating the Master Calendar each school year. Because of the labor and time required to change the configuration, changes to this schedule are made only in exceptional circumstances.

The downstage panels of the large shell pivot/swing open. They should always be in their fully opened position when moving equipment off and on stage to avoid hitting and damaging the shell walls. Take care to avoid scratching the shell finish -- repairs to this are costly. During rehearsals and performance, these panels must be fully closed to maximize the acoustics of the hall. There are also standard doors on the down stage left and right side of the shell; please make sure to keep all items clear of these doors.

In Corbett and PCT the small, movable acoustic shell is available for use for solo or chamber music performances. It is important when placing the portable shell that its placement does not obstruct the fire curtain. Special uses should be discussed with the Performance Operations Director.

Nothing may ever be hung, draped, or otherwise affixed to the surface of the shells. This goes for both portable shells.

The Performance Management office will make every attempt to see that enough chairs are available on the stages and in the rehearsal rooms for every scheduled event. However, Ensemble Graduate Assistants may be required to move chairs from one location to another at times when multiple rehearsals are scheduled.

At the end of a rehearsal, chairs should always be returned to the location they were moved from unless other arrangements are made through the Scheduling office. To create a uniform, professional look, only the black padded, black legged chairs should be used on the stages for rehearsals and performances. Metal and plastic chairs should be kept in rehearsal rooms, and the pink Wenger Chairs should all be kept in DVAC 300.

Conducting podiums are the responsibility of the individual ensembles. Podiums should remain either in the ensemble rehearsal rooms or backstage Corbett.  If a podium is used in another hall or venue, it must be returned after each use to the designated backstage area or rehearsal room.

Arrangements to use a lectern or microphone on stage must be made through the Scheduling Office at the time setup information is provided. Corbett Auditorium, PCT and the Werner Recital Hall are equipped with wireless microphones for the purpose of PA amplification only. Instrumental amplification is not supported through Performance Management.

Riser use must be coordinated with the Choral Graduate Assistant in charge of risers.

Risers are stored in the Riser Storage Cage in S1 – the 2000 level of Corbett Center.  All clips and clamps are stored on a cart that lives with the risers. It is the responsibility of the Ensemble GA’s doing the set-ups to get the equipment that they need.  If pit plugs are needed, see Jessica Lucas in Performance Management as they are stored in a separate room.  Risers should never be left in the backstage area of a hall without planning this with the Scheduling Office. Ensemble GAs who need to use risers should meet with the Riser GA to review the schedule of usage, and for proper moving and proper storage methods. Performance Management does not set or strike risers.

It is the responsibility of the users of the risers to make sure that the risers are set-up and taken down, in a safe and secure manner. Do not lean or set risers or platforms against the orchestra shell at any time. The shell can be easily scratched and is very hard to match touch up colors. It is important when setting the risers that they do not obstruct the operation of the fire curtain, or the Performance Management Office will require that they be moved.

Arrangements to use a screen or projector on stage must be made through the Scheduling Office at the time setup information is provided.  Watson and 3250 Emery Hall both have screens and projectors built into the room, and there is a portable screen and projector available for use in Corbett Auditorium, PCT, and Werner Recital Hall.

When planning for the use of any screen or projector in any space, it is the responsibility of the performance artist, ensemble GA or event coordinator to let the scheduling office know if this equipment is needed for any rehearsal dates, and to check in with Performance Management to make sure their equipment will work with the equipment being provided. Adapters and converters are not provided by the Performance Management Office.

Music stands (or lack thereof) will be a problem throughout the year. Performance Management  staff will continually work to see that there are enough stands and chairs in all the venues. There will be a periodic roundup during the semester, as time and staff allow, and one at the end of each semester. Please make sure that, during rehearsals and performances, all on-stage stands are functioning and pleasing to the eye.

Stands may not be removed from the CCM buildings without prior authorization by the Scheduling Office. If you see somebody removing a stand from a venue or building, kindly ask them where the stand came from and where it is going.

A basic lighting plot has been designed for each of the main performance venues, and basic concert lighting is as follows:

• Cue 1 is preshow look, which should be executed before house is opened.
• Cue 2 is house to half, which indicates that the performance is about to begin,
• Cue 3 is the standard concert wash, full lights on stage, house out.
• Cue 4 is post show look, which should be executed for audience walk out following the performance

The selection and use of any keyboard instrument on stage must be coordinated through the Scheduling Office at the time setup information is provided. Please submit a list of which concerts and corresponding rehearsals will need piano, organ, or harpsichord at the beginning of each semester so that the piano technicians can plan ahead. Tuning of the instruments will be arranged according to the information provided to the Scheduling Office. The use of special keyboard (i.e. prepared piano, piano lid removal, alternative temperaments), two or more pianos, harpsichord, or fortepiano should be included on the setup form for that performance.

Extreme care must be exercised when moving the instruments around onstage to ensure they are not damaged. Keep them well away from walls, doorjambs, risers, music stands, etc. Keep instrument covers on while moving them and replace when you are finished. Never place anything on top of the instrument even if the cover is on it.

Do not remove the lid of any piano or harpsichord without prior permission from the piano technicians. Improper removal and/or storage of the lid may damage the lid or the instrument itself and ensemble groups will be responsible for any repairs required as a result. Organ use should be arranged as soon as possible with the Scheduling Office (at the beginning of the semester preferred, with a minimum of one month) in order to arrange for tuning. Keys for organs must be arranged through the Performance Management Office prior to the Concert. Stage Managers do not have keys to any organ.

Plans to place performers backstage, in the house, or in any adjacent space must be included in the set-up sheet for the event. Use of house seating areas for ticketed performances must be approved in advance by the Senior Performance Operations Director. Non-stage areas used for performance must be restored to the original arrangement, i.e., chairs replaced, and music stands removed immediately following the performance.

There is always the possibility that between a dress rehearsal and performance that another concert might be scheduled. Therefore, Ensemble will need to strike the off-stage set-ups after each rehearsal. Please check to see that the Performance Management Office is aware of these set-ups and that the proper procedures have been followed.

• Mon-Fri: 5 p.m., 6:45 p.m. and 8:30 p.m. (varies by venue availability)
• Sat-Sun: 1 p.m., 3 p.m., 5 p.m. and 7 p.m. (by special permission only)

Teacher and Division head must approve and paperwork submitted. Only recitals not requiring a committee can apply for an off-campus recital, with the exception of organ recitals. The student is responsible for schedule coordination with the off-campus venue and any associated fees (i.e. rental or tuning fees).

(Watson and 3250 ONLY!)

• Mon-Fri: 5 p.m. and 6:45 p.m. (some may be unavailable due to summer programs)
• Required recitals need a 3 faculty committee procured by the student unless a pre-recital hearing occurs. Keyboard recitals only require a 2 faculty committee.
• Non-required recitals only need a teacher signature

Non-degree recitals are not permitted on campus during spring semester. Non-required recitals can take place during the fall or summer, or off-campus in the spring.

1. Announcement: Every semester an announcement outlining scheduling procedure will be sent to students’ UC email about scheduling recitals. Usually, Fall semester recital scheduling opens up in April, and Spring recital scheduling occurs in late October or early November.
2. Set an appointment to meet with Scheduling Manager as outlined in the email.
3. Meet With Scheduling Manager to schedule recital time.
4. Obtain Approval: Within two weeks of meeting with the Scheduling Manager obtain approval of date/time/place from all required parties (lecture requires both studio teacher and lecture advisor’s approval; Cognate requires College Office approval)

All cancellations must occur at least 2 weeks in advance unless there is an emergency. Rescheduled/Cancelled Recitals will need approval of Faculty, Scheduling Manager and Division Head if the recital is cancelled less than two weeks prior to the original date. Any cancellation/reschedule that does not have a legitimate reason, as presented in the policy form will incur a fine. Rescheduling will not occur until the cancellation form is submitted and payment received.

Cancelling or rescheduling a recital after finalizing the recital time and date may occur only under certain circumstances. This includes both recitals performed in CCM Village and off-campus.

The Scheduling Manager (Eric Louie) will be responsible for enforcing the cancellation/rescheduling policy. Students may appeal by having their Division Head email the Scheduling Manager explaining the situation. The scheduling manager will forward this appeal to the Associate Dean of Academic Affairs (Stephanie Schlagel) for a final ruling.

Acceptable circumstances include:

• Injury or illness constituting an immediate emergency (A physician’s note is required stating that aforementioned injury/illness will prevent you from performing.)
• Family emergency
• “Act of God” (natural disasters, weather catastrophes preventing travel)
• Broken instrument (A repairman’s note certifying the instrument to be unplayable will be required.)

The following are not acceptable reasons:

• Repertoire is not ready for performance
• Schedule conflicts; this includes conflicts with ensemble assignments, outside engagements. or unforeseen conflicts with a faculty member’s schedule
• Problems with assisting artists/accompanists, including lack of preparation or late cancellation, with the exception of an acceptable circumstance above

A recital cancellation form signed by the student, teacher and the division head must be submitted to the Scheduling Department in the Performance Management Office. Any cancelled/rescheduled recital that does not have a legitimate reason (listed above) with attached physician’s note (when applicable) will incur a non-refundable fine. The student may not reschedule the cancelled recital until the fully executed cancellation form is submitted and fine payment is made.

Trading dates with another student is only permitted with signed approval from the teacher and division head, and must be requested in writing through the Scheduling Department.

Failing to appear for a scheduled recital will also incur the cancellation fee and the student will be reported to their division head. Again, the student may not reschedule until payment is made.

There will be a 3 week grace period at the beginning of Fall semester, and a 2 week grace period at the beginning of Spring. During this time, students will be able to change recital dates only because of ensemble assignment, faculty conflict, or extenuating circumstance without incurring a fee. All other recital reservations shall remain in effect. All changes must be finalized by 4 p.m. on Friday at the end of the grace period.

All materials requesting a waiver of the fee (e.g. doctor’s note or a letter of appeal) are due 2 weeks after the originally scheduled recital date except during the final week of classes or in finals week, in which case they will be due directly on the originally scheduled recital date. After this due date, the cancellation fee will not be waived under any circumstances, and the student’s account will be assessed the non-refundable cancellation fee.

Performance Studies students must present copies of the intended program to the adjudicators. This information must follow the recital formatting guidelines.

If a student does not pass the hearing, inform the scheduling office as soon as possible. Arrangements will be made to reschedule both hearing and recital.

DMA Lecture recitals do not have a hearing process. The Thesis committee must approve the lecture-recital before it can be scheduled or performed. Following approval by the Thesis Committee, the division head assigns an adjudication committee of three faculty members.

• All repertoire must be approved by the student’s faculty.
• Recitals must not exceed 75 minutes, including set-up, transitions and strike.
• Recommended length for Masters, Senior, Junior and Non-required: approx. 50 minutes of Music, 60 min. with set-up, transitions, and strike
• Recommended length for AD and DMA: approx. 60 minutes of Music, 70 min. with set-up, transitions, and strike

All registered recitals (MM (opt.), DMA, AD) will receive a grade of P (pass), U (unsatisfactory), or IP (in progress). Contact the College Office for more details.

• A student’s transcript must not have an IP for a recital by the time of graduation.
• Recitals MUST occur in the semester in which they are registered. If you do have to cancel a recital for legitimate extenuating circumstances, please make sure to withdraw from that particular course number. Contact the College Office for more details.

CCM neither provides nor pays recital pianists. This responsibility falls to the person(s) giving the recital, even though a graduate collaborative piano major may be the primary accompanist for the student.

• Receptions can take place ONLY in: Werner green room, Watson lobby, or the 4000 level atrium above the Cohen Studio Theater. These spaces must be reserved through the scheduling office. It should not be assumed that these areas are available.
• Students are responsible for set-up and cleanup of the area. The area should be cleaned afterward and nothing left behind.
• Receptions cannot impede other events. This is especially important if there is a recital scheduled after yours. Performance Management reserves the right to evict receptions at their discretion.

Each stage will have some differences, but the following are consistent for each performance venue. This section can be updated at any time so use it for a reference point.

Seating: 664 seats
Breakdown: 562 seats on main floor, 126 seats in balcony
12 boxes @ 4 seats each 6 lower, 6 upper
Stage House Opening: 52 feet
Stage House Depth (without shell): 42 feet
Depth of Stage in "normal" shell setup: 2 pieces, from edge of Pit to back of shell: 40 feet
Musical Instruments: Harrison Organ and 2- 9’ concert grands (Steinway D #3 & # 4 )  
Orchestra Pit: Hydraulic elevator pit.  Stage floor upstage of proscenium is fully trapped.

3-foot square wooden grids of cherry wood with hardwood accents make up the walls. Each grid/panel has 20 wooden dowels set at different spacing helping with the acoustical properties in the room. There are approximately 620 wood dowels in the room which diffuse the sound through the wooden panels back to the plaster walls where the sound is deflected. The same wooden dowels are used on the orchestral shell to assist in creating one large acoustical chamber for the audience to experience the music.  The wood used in the hall is a dark cherry, makore, with beech accents. Special touches include the side boxes, or "boats", and the large torchiere lighting columns which were designed to disguise the steel beams that support the side balcony positions.

The House ceiling is a series of suspended curved square sheets of perforated light -gauge steel that overlap designed to enhance the acoustics of the room. They are also designed with the lighting positions in mind.  Throughout the stage and audience chamber there are technical positions that support the mainstage productions. Since the hall is only used as a "Broadway" house 10% of the year these positions were disguised when the hall is used as a concert venue.  When you stand on stage looking out at the audience on Stage Left right above the steps to the House are the organ pipes hidden behind the dowels.

If you look up at the upper boxes, you'll see an exit sign, right above that is a section of the paneled wall which is really a "garage" door that rolls up, and a lighting platform swings out. There are also speakers built into the boxes that are used during the musicals.

There are 7 positions throughout the house where cameras and microphones can be plugged in, to transmit to the local booth position, above the balcony, or back to the main control rooms in Electronic Media.

The Shell normally plays in the mid stage position using only two side sections and two ceiling pieces.  There is a third side section that can be used for large choral & orchestral pieces.  For Mainstage productions the shell is stored against the back wall of the stage where specially designed brackets were installed. The ceiling pieces tip to a vertical position for storing and have electrical wenches that move it to its storage position at the grid.

To turn on lights, go to the stage manager panel located backstage right. There is a touch screen lighting control that operates all the lights. There is a "Tour" cue that will bring up the house and some stage lights. Best way to enter the backstage when the house is dark is from the dressing room hallway that you enter from the Galleria hallway.

Seating:  378 seats, in a steep rake
Musical Instruments: One  9’concert grand ( Steinway D #5 )

Modified Thrust stage with a pit that's covered when not in use. No real renovation except the addition of handicap seating area back of house, which is often used for sound mix and projection operator position. The theatrical electrical systems and theatrical audio systems were renovated as separate projects. There are also E-Media connections back to main studios.

To turn on lights, there is a single light button as you come in from the main lobby entrance on the 4000 level. Aisle One, to the left, inside the metal bars against the back row. A little green light indicator.  The main light control is on the SM panel located Stage Right all the way.

Seating: 100 - 150 seats, flexible depending on set design and configuration of the audience risers.  Designed to be totally flexible depending on the needs of the production. The faculty get together at the beginning of the year, look at what shows are programmed for each year, and decide which configuration will work best for the productions. The configuration stays in place for the full year.
Musical Instruments: One 7’ concert grand (Steinway D #5)

Split - faced block which were chosen for their acoustical properties. There's an industrial grid of metal channels that run around the room that make it possible to hang acoustical damping baffles where they are needed, and to also attach scenery to.  The color of the block was designed for the project to assist in the theatrical lighting of the space. The design of the hall with the Apse at one end, and a Proscenium Arch at the other were to enable student designers and directors to achieve a "look" without the expense of a big production. There is a rolling bridge unit that can be rolled in to place to bridge the two ends or can be taken apart to create a series of towers, literally a designer’s erector set.

There is a small stage elevator for moving sets in from the Scene Shop. It can also be used as a ramp.  The floor of the center of the room is trapped. There is a 3' pit that can be used in various configurations.

To turn on lights, there is a tour light button as you come in from main lobby entrance on the Right wall about chest height, a little green light indicator.  The main light panel is located right inside the door from the light block hallway to the Scene Shop Wing. It's right inside the door to the right.

Seating: 280 seats, most fixed, some loose seats. Very small balcony, 1 row loose seats.
Musical Instruments: Two 9' concert grands ( Steinway #1 “ New York” , Steinway #2 “Hamburg”)1 Boesendorfer concert grand

The large, curved section of the space is a Texas Shellstone. If you look closely you can see the imprints of shells in the stone. The wood grid and wall panels are an African Mahogany called Babinga.  There are acoustical curtains of a heavy velour on the walls and in the back of the house designed to assist in "tuning" the space.  The back walls of the stage are the doors to the piano garages.

The ceiling is a series of suspended square sheets of perforated light -gauge steel designed to enhance the acoustics of the room. The stage is designed to be used for solo and chamber works. The hall is connected back to E-Media with Audio and Video hook-ups.

Since the hall is to be used strictly for recitals not productions it was designed with a minimum of theatrical systems although there is a fully functional audio booth behind the balcony.

To turn on lights, you can enter at 3000 level to the balcony and enter the Booth, where there is a panel at top of the steps. The main light panel is located backstage, next to the stage managers station.

Seating: 144 seats
Musical Instruments: One 7' concert grand, (Steinway B7).1 Harpsichord. The Strader Organ

New acoustical panels were installed on the walls and the seating was refurbished. This space has a screen and a projector permanently installed. The switch for the screen is stage left, upstage of the Organ, and the controls and remote for the projector are in the podium. This is a non-supported venue, meaning we do not staff it for concerts. Light Controls are next to the backstage door.

Seating: 100 seats
Musical Instruments: Two 7' concert grand, (Steinway B7, #1 & #2.)

This is a non-supported venue, meaning we do not staff it for concerts. This space has a screen and a projector permanently installed. Controls, cables, and remotes for the projector are in the media cabinet on the wall to the left when you enter the room.  Light Controls, switches for the window shades and the switch for the screen are all stage right.

CCM utilizes digital programs, and no longer produces paper programs. The CCM Scheduling Office produces programs for CCM concerts and recitals and the CCM Public Information office posts these and programs for plays, musicals, dance, and opera on the following sites:

• For Free Events: https://ccm.uc.edu/onstage/free-events.html
• For Ticketed Events: https://ccm.uc.edu/onstage/ticketed-events.html

Patrons are invited to access these via posters with QR codes on them. Each venue has a free events poster and a ticketed events poster, and has a label on the back to correspond with the venue it should be in. Corbett Auditorium has two sets of these, since there are multiple entry doors.  This is a new procedure, begun in the 21-22 season.

Submit all program information no later than two weeks before the concert date. Within 2-3 business days, we will notify you that a proof is ready. All corrections or changes must be turned in by 12:00 noon one week before the performance date. This allows time for printing and posting the program in advance of the performance.

Submit all programs to ccmsched@ucmail.uc.edu in typed form as an email attachment in Microsoft Word (no PDFs please).

Give the name of the ensemble at the top of your program, then list the names of your music director, conductor (if different), and any featured soloists or guest artists and their instrument/vocal part. Follow this with the day, date, place and time of the performance. If the program has a title, put the title at the very top of the program

Submit programs in the order of the actual performance. Indicate the intermission, if any. Student recitals are not permitted to have an intermission.

Give full names of composers, including any special accent marks. Give birth and death dates for all composers. For living composers indicate the year of birth. In the case of obscure composers give as much information as possible. For spelling and dates refer to the New Grove Dictionary in the music library. Dates for compositions are welcome, especially for recent works, but are not required. (Note: For some Russian composers, the New Grove Dictionary uses a non-standard spelling. In those cases, use the more commonly used spelling.)

List titles in standard format for the piece as defined in the New Grove Dictionary. Generic titles such as “Sonata” and “Concerto” should only include descriptive terminology such as “for Violin and Piano” when specifically indicated by the composer (not an editor).

Write all generic titles in English. Keys, where applicable, should be listed in English. Give non-generic titles in the language of the composer; alternatively in a generally accepted language. In the case of languages that do not use the Roman alphabet, use an English translation. Always follow the standard rules for capitalization of the language being used. Do not simply copy the title from your edition of the music until you have confirmed appropriate language. Always include any accent marks.

Accepted and commonly used nicknames for specific works may be included in parentheses after the generic title:

• Sonata in B-flat Major, Op. 106 (“Hammerklavier”) not “Hammerklavier” sonata
• String Quartet in B Major, Op. 76, No. 4 (“Sunrise”) not “Sunrise” quarter

Include Opus numbers, numbers within an Opus (Op. 56, No. 1) or other identifying commonly used catalog numbers (K., BWV, D.). Numbers such as Sonata No. 3 or Concerto No. 5 are not to be included unless specified in the title by the composer (not an editor). The abbreviations “Op.” and “No.” should be capitalized. In the case of songs, include the opus number (if there is one) for larger entities such as a song cycle, but individual songs need not include opus numbers. A group of songs by Brahms or Fauré, for example, need not list the different opus numbers for each song.

Indicate Major and Minor keys in English by the appropriate capital letter followed by “Major” or “Minor” capitalized.

List all movements by the appropriate tempo indication or the title in the language used by the composer.

When performing a single song or movement from a larger work, always specify the name of the larger work (e.g. Chaconne from Partitia in D Minor, BWV 1004; Habañera from Carmen.)

The transcriber or arranger, if any, should generally be listed under the original composer. This may vary according to specific situations.

Soloists for individual pieces should be given just below the title and list of movements for that piece, along with their instrument or voice part.

Please provide your complete roster of musicians, including designations of principal players, when you originally submit your program for the concert (at least two weeks in advance). We understand that some changes in roster may be necessary, but it is better to have the initial format set early even if changes have to be made. List all names as they are to appear in the program. (e.g. "Sarah Smith" instead of "Smith, Sarah")

All italics, underlining and quotation marks will be formatted according to standards developed by CCM’s Office of Public Information in conjunction with the Scheduling Office.

If you want any additional information listed on your program, such as a listing of upcoming concerts, recordings available for sale, sponsor information, or departmental faculty, provide this content in its entirety at the bottom of your program information. We will include as much information as space permits, prioritizing ticketed events. The Office of Public Information may add information on upcoming events for your ensemble or any other CCM performances.

It is the concert organizer’s responsibility to print supplemental content. This includes program notes, bios, and translations. Please submit this material to the Performance Management office or to the house management staff no later than 2 hours prior to the concert.

Submit no less than two weeks prior to your recital date.

1. Word document emailed to CCMSched@ucmail.uc.edu
2. Save as Recital.Date LastName.doc (10.5.20 Smith.doc)

Students will be charged $10 to reprint programs (after they have been proofed, approved and printed the first time).

Take three copies of the program to your recital hearing (if applicable) for faculty to review.

Topic must have prior approval from the Graduate Thesis and Research Committee.

• Wash or sanitize your hands before and after playing the pianos.
• Food and beverages are strictly forbidden in the performance venues, practice rooms, and on or around the pianos.
• Do not place anything on the piano other than your score.
• Do not move or rearrange the pianos or benches.
• If there are any problems with the pianos, please report it to the piano technicians or Performance Management Office.
  

Over the past several years, we have acquired many Steinway pianos for these practice rooms. Practicing good hygiene is essential to keep the practice rooms open for use.

• Do not remove benches from the practice rooms or move any additional benches into the space from other practice rooms, classrooms, or other areas within the school.
• Food and beverages are prohibited in the practice rooms, especially around the pianos. Please do not set your food and drink on the pianos. Please keep your personal belongings off of the pianos other than your score.
• Lower the blinds and leave them angled when you are finished practicing. This saves energy for the building’s heating and cooling system and protects the pianos from direct sunlight.
• Do not use external techniques on a practice room piano without prior permission from the piano technicians.

These pianos are tuned and maintained on a frequent basis so they will perform optimally for your recital. It is essential for you to practice good hygiene to keep these pianos safe and available for everyone to use. Please help us by following these guidelines:

• These pianos are to be used for scheduled rehearsals, recordings, or concerts only. They are not to be used as practice pianos under any circumstances. All performance venue usage must be scheduled in advance. Abusing this policy will result in disciplinary action.
• If you need to remove the piano lid you must inform the scheduling office and contact the piano technicians to ensure that this is done properly and does not damage the piano. The piano technicians will instruct and help you. If the lid must be removed or replaced before or after the 8AM-5PM hours you will need to make arrangements for help so it can be done safely. A minimum of 3 people are necessary to remove a concert grand lid without risking damage.
• Be careful when moving pianos on, around or off the stage. Piano legs are fragile and could snap if unthinkingly pushed over an obstruction. Go slowly! Do not push the pianos against any walls, doors or anything else. Keep the piano at least 6 inches away from walls, doorjambs or anything that could damage it.
• Performance pianos are not to be used for prepared pianos. Do not touch the interior of the piano for any reason. If you are planning on programming a piece that requires preparations (i.e. placing objects in, on or around the strings, dampers, action, etc.) you will need to do it in a space that has an appropriate piano. To avoid disappointment, plan ahead and talk to the scheduling office to ensure you will be able to find the appropriate space for your recital. There is a piano in room 1630 that has been designated for this kind of work. It can easily be moved to PCT as well. You must check with the piano technicians if you are going to play in any non-traditional manner and/or need to mark the dampers or strings for any reason.
• Do not remove the artist benches from the recital space or move any additional benches into the space from practice rooms, classrooms, or other areas within the school. If you need an additional bench for an event, please contact the piano technicians for assistance.
• Protect the instrument during load in and strike. Be mindful of paint spatter and sawdust during the week onstage after load in.
• Please make sure that the instrument is covered every night before leaving the theatre.

If you have a piano in your office, please treat it with respect. Failure to uphold the following policies will result in disciplinary action up to and including removal of the piano from your office.

• Keep your belongings off the piano. Do not place anything on the piano other than your score.
• Do not move the piano. If you’d like to rearrange your office, please contact the piano technicians for help with moving the piano around the room. Moving the piano outside of your office to another location or switching it with a different piano from another office or classroom is prohibited.
• Do not remove the piano bench from your office or move any additional benches into the office from practice rooms, classrooms, or other areas within the school. If there is a problem with the bench in your office, please contact the piano technicians for assistance.
• Space heaters and candles are not allowed anywhere in CCM. According to university policies, these items should not be in your office at all. If you are unhappy with the climate in your office, please place a work order requesting a temperature change.
  
• Refrigerators should never be placed under a grand piano or immediately next to an upright or grand piano. The heat they produce will damage the piano.

• Rebekah Whitacre, Director of Piano Services, rebekah.whitacre@uc.edu
• Phone: 513-556-9565
  

Monday-Friday 8:30 a.m.- 4 p.m.

513-556-9461

513-556-9460 CC3820 

• Ray Dobson, Senior Director of Performance Operations CC3820B, dobsonrn@ucmail.uc.edu
• Jessica Lucas,Performance Operations Director CC3820D, lucas2j2@ucmail.uc.edu
  

513-556-9429 CC3820D 

• Ray Dobson, Senior Director of Performance Operations CC3820B, dobsonrn@ucmail.uc.edu
• Jessica Lucas, Performance Operations Director CC3820D, lucas2j2@ucmail.uc.edu
• Performance Management Operations GAs, ccmoperations@ucmail.uc.edu
  

513-556-9430 CC 3820C 

• Eric Louie, Scheduling Manager, Eric.Louie@uc.edu
• Scheduling GA's, CCMSched@ucmail.uc.edu
  

513-556-9413 MEH 3110 

• Jody York, Procurement Coordinator & Mail & Duplication Supervisor, yorkja@ucmail.uc.edu
  

513-556-9565 CC 1470

• Rebekah Whitacre, Director of Piano Services, rebekah.whitacre@uc.edu

513-556-9467 EMERY

• Melissa Godoy, Managing Producer, godoymm@ucmail.uc.edu
  
• Simón Sotelo, Recording Production Director, simon.sotelo@uc.edu

513-556-4183 CC 3885A

• Matthew Wilson, Box Office Manager, 513 556 4183, wilso6mw@ucmail.uc.edu
• CCM Box Office/24-Hour Concert Line 513-556-4183

513-556-1111

513-558-2500