Rehearsal and Performance Guidelines

• Building Policy
• Access & Security
• How To Get A Key
• Lockers
• Work Orders
• Piano Care & Use
• Parking
• Use of University Resources Policy for Faculty
• CCM Recording & Streaming Policy
  
• 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
• Recital Program Template
• CCM Performace Halls
• CCM Ushering FAQ
• CCM Facility 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 sometimes 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 from a UC office phone line or 513-556-1111 from a cell phone.

Doors should never be propped open and should remain locked when possible. Exterior doors, doors into the performance 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. 

If you need to leave any office, even briefly, lock the door behind you. If you are in Memorial Hall or DVAC, which lock early, do not leave your belongings lying around. 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 talk to them.

We strongly recommend that you do not keep personal belongings, particularly those of value, in any CCM offices, practices rooms or rehearsal halls unless you are actively working in that space and have your eyes on them. Leave personal belongings at home or get a locker and lock up your belongings. Be cautious when leaving anything backstage or front of house in any of the venues, and never leave keys lying around anywhere. Put them in their appropriate home or always keep them on your person. The University is not responsible for any items left unattended.

It is a good idea to leave your contact number on the lock screen of important personal belongings like phones, iPads, computers, etc. This allows Performance Management to easily contact you if your items are found elsewhere in CCM.  

There are two locations for Lost & Found in CCM. Corbett Center 3820, the Performance Management Office, is a good first place to check. The shelves are just inside the office door to your right when you enter. Mary Emery Hall 3130, the Mailroom, is the second location. Items are transferred from Performance Management to the Mailroom on Tuesdays and Fridays.

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 (6-9460). 

Performers, students, faculty and staff should always access performance halls using the backstage entrance(s) for both rehearsals and performances. Entrances from the lobby and through the front of house should only be used by patrons 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. Faculty and Staff do not need a supervisor to request the keys, but must send an email to CCMkeys@uc.edu with the information listed below:

• 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 and a credit will be issued via catalyst upon receipt of the keys. If the assigned keys are not returned, the students will not receive their deposit back.
• All key Pickups are in Performance Management – CC 3820 during normal business hours: 9am-4pm, when Senior Performance Operations Director, Ray Dobson, is available. The office extension is 6-9430.
• All Operations staff are responsible for their own office keys and access to CC 3820. 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 or supervisor 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. If the key is not in stock, the student will be informed when to return to retrieve the keys.

Anyone returning keys needs to fill out a small envelope from the front desk with the following: name, M number, and UC email. Then, they can put their keys in the envelope, and place the envelope in the bin at the front desk. There is no need for Ray Dobson or any supervisor to be in the office, unless the person returning keys needs paperwork signed.

No food or drink is permitted backstage, on stage, or in the front of house of any CCM venue, practice rooms, rehearsal rooms, or classrooms. The only exception is water in a bottle with a tight fitting lid.

All pre- or post-concert receptions, anywhere in the facility, must be arranged through the Scheduling Office no later than two weeks (14 days) prior to the event. Reception space is limited and subject to availability at the discretion of the scheduling manager. Just because a lobby, or room appears empty and is opened, does not mean that it is available for use. Performance Management reserves the right to evict any receptions not following the above policy.

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, or in provided plastic sign holders. The use of music stands as temporary sign holders is permitted. Stands must be collected and returned to the proper location after the event. There are a variety of easels and sign holders which can be borrowed and returned to the Performance Management Office with advance notice and based on availability of equipment. Improperly placed signs will be removed and discarded without warning.

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.

• 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 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 at pianotec@ucmail.uc.edu.
• Do not move music stands into or out of practice rooms. Students are responsible for providing their own music stands for practice.
• Do not cover or block the windows in the door of the practice rooms. This is for your personal safety. Should there be an emergency, first responders must be able to see if rooms are occupied. This policy is also in place for the convenience of students attempting to determine if a practice room is in use. For your safety, always lock the door with the thumb latch when you are in the room, and do not block the window in the door. Do not open the outside windows, these have been permanently closed for student safety. Do not unscrew or otherwise break latches in order to open windows, this is considered vandalism of University property.
• These rooms are available on a first come/first-served basis and cannot be reserved. Some of these rooms are designated as piano practice rooms and are only available for piano students with keys. If rooms need to be closed for piano or other routine maintience, you may be kicked out of any practice room at any time.
• 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. Do not leave personal items unattended in practice rooms. In case of theft, UC insurance does not cover loss of any personal belongings, including instruments. Practice rooms cannot be “held” with your instrument while you go to class. After you have finished practicing, please close the windows, pull the shades, and turn off the lights.
• You should only remove items from a practice room if a student comes to our office complaining that the room has been vacant, but with items in it, for 15 minutes or more.

The CCM administration understands that open practice rooms can be hard to find at certain peak hours. Therefore, it is important for everyone to adhere to these protocols for considerate room use.

The following process must be done in sequential order in order to obtain a locker.

1. Find an open locker and put your lock on it or leave your existing lock on the locker.
2. Use your mobile device or computer to go to https://forms.office.com/r/FjVyemG5v4
3. Enter your information as directed on the form.  All fields MUST be filled out.
4. Save a copy of your answers, as this serves as proof that you have registered the locker in your name.

• Students are only allowed one locker in a single high-volume area due to increased student enrollment at CCM. 
• High-volume areas are: Memorial Tunnel and the 1000 level of Corbett Center.  
• If a student has more than one locker in either of these locations, they must vacate the additional locker spaces or locks will be cut off.

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.
  
• Issues such as elevators not working, or any water intrusion/flooding should always be reported either to Performance Management Staff or to Work Control immediately.

For maintenance needs in offices, studios, or rehearsal rooms, call Work Control 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 which will help Work Control understand the problem.

Always leave an e-mail or voice mail (e-mail is preferred) for Jessica Lucas (lucas2j2@ucmail.uc.edu ) 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 call or email Jessica Lucas and report the problem.

• Thoroughly 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 pianos other than your scores and writing utensils. Personal belongings never belong inside a piano.
• Do not move or rearrange the pianos or benches.
• If you are planning to practice or perform a piece that requires external techniques (e.g., placing objects in, on, or around a piano’s strings, dampers, action, etc.), please contact Rebekah Whitacre, Director of Piano Services at rebekah.whitacre@uc.edu for assistance prior to playing a piano in any non-traditional manner (including marking strings or dampers).
• Only current CCM Piano Services staff are permitted to service pianos and historical keyboard instruments at CCM.
• Please reach out to the piano technicians at pianotec@ucmail.uc.edu with any requests, questions, or to report an issue with a piano at CCM.

• Food and beverages are prohibited in the practice rooms, therefore do not set food and drink on the pianos. Outside of music scores and writing utensils, please keep personal belongings off of the pianos. Do not store personal items inside a piano.
• Do not use external techniques on a practice room piano without prior permission from the piano technicians.
• 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.
• 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.

These pianos are tuned and maintained on a frequent basis so they will perform optimally for your performance. 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 a grand piano lid you must inform the scheduling office and the piano technicians prior to removing the lid. The piano technicians will instruct and help you to ensure the lid is removed properly and damage does not occur to the piano. If the lid must be removed or replaced before or after the hours of 8AM-5PM, you will need to arrange for help so it can be done safely. A minimum of three people is required to remove a concert grand piano lid without risking damage. Piano #2 in Werner Recital Hall cannot have the lid removed for any reason.
• Exercise caution when moving pianos on, around, or off stage. Piano legs are fragile and can fail if unthinkingly pushed over an obstruction. Move slowly and keep pianos at least one foot away from walls, doorjambs, or anything that could cause damage. Piano dollies and piano wheel castors must be locked after moving a piano.
• 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 to program a piece that requires preparations (e.g., placing objects in, on, or around the strings, dampers, action, etc.), please contact Rebekah Whitacre, Director of Piano Services at rebekah.whitacre@uc.edu for assistance prior to preparing or playing a piano in any non-traditional manner (including marking strings or dampers).
• 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 instruments during load in and strike. Be mindful of paint spatter and sawdust during the week onstage after load in and appropriately cover instruments as needed.
• Please make sure that the instrument is covered every night before leaving the space.

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.

• Outside of music scores and writing utensils, please keep personal belongings off of the pianos. Food and beverages are not allowed on the piano for any reason. Do not store personal items inside the piano.
• 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 prohibited. 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.
• Coffee makers, refrigerators and microwaves should never be placed on, near, or under the piano. The heat and/or steam these appliances emit will damage the piano. Please locate all small appliances at least three feet away from the piano.
• Only current CCM Piano Services staff are permitted to service pianos and historical keyboard instruments at CCM. Please reach out to the piano technicians at pianotec@ucmail.uc.edu with any requests, questions, or to report an issue with a piano at CCM.

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

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, or other questions specific to Parking at CCM or anywhere on Campus, please contact Parking Services. Performance Management has no control over the CCM Parking Garage.

The CCM Plaza and the Corbett Drive turn around are Fire Lanes and are not parking spaces. 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.

Specific to Faculty only, and not CCM students. Pursuant to University code of Conduct 3361:10-17-03 Sec (I)  ( Pg 7 )

(I) Use of university resources University resources may only be used for official university business and not or personal gain or convenience. University resources include, but are not limited to, the use of university systems, such as telephone systems, data communication and networking services, and the UC domain for electronic communication forums; the use of university equipment, such as computers and peripherals, university vehicles and other equipment; the use of procurement tools such as purchasing cards and petty cash; and the time and effort of other staff, students and others at UC. University resources can only be disposed of in accordance with the policies established by the vice president for finance.

Recording at CCM can take many different forms and is heavily dependent on prior communication with the Performance Management Office and pre-planning for it to be possible and successful.  At least 10 business days prior to your recital, concert, or event, you must contact the Performance Management Office via phone, email or in person (office hours are Monday – Friday 8:30a-4pm) to discuss what you wish to do in relation to your upcoming performance or event.  You must have a reservation already on the schedule to begin a conversation about recording or streaming, and to speed the process, please have the following questions answered and ready before arriving at our office:

• What is the date, time, and venue for your performance?
• Is this an audio recording, video, or both?
• Will you require additional equipment for this recording?
• Are you looking for support to record from within CCM, are you hiring an outside vendor, or is this an internal use project?

If approved, recording policies in the venues are as follows:

• The House Manager has final approval of camera position, cable pathways, and what must be taped down to ensure the safety of CCM patrons and staff.
• Set-up and tear down of equipment cannot impede the normal flow of the front of house procedures, or the performance itself, and must happen on the day of the performance in most cases in the 90 minutes prior to and following the performance.
• Set-up and tear down of equipment cannot impede the normal flow of the front of house procedures, or the performance itself, and must happen on the day of the performance in most cases in the 90 minutes prior to and following the performance.
• All tape used to secure equipment must be removed and disposed of at the end of each recording, Duct tape and packing tape are not allowed.  “Saving” tape in a venue is a practice that will not be tolerated and anyone doing this will be charged for damage to university property.

CCM Recording Productions (Formerly CCM Digital) is an in-house video production entity that plans a season of promotional videos, short documentaries, and performance recordings for use on CCM’s official YouTube channel and other venues. The program is planned in collaboration with directors and faculty. It is subject to change as needed. CCM Recording Productions Services are available ONLY for CCM faculty, staff, and students.

Video recordings outside of the pre-selected season can be requested by filling out the CCM Recording Productions 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 Recording Productions Request form and communicate details with Performance Management. CCM Recording Productions assists vendors with various logistics, including communication with Operations Staff, venue scheduling, and proper branding of completed work. 

If you hire an outside vendor, it is your responsibility to either put them in touch with the Performance Management Office so that they are aware of general policy and procedure, or to communicate the policies and procedures contained here directly to them.

Turnaround time – immediate.

Available in Corbett Auditorium, Patricia Corbett Theater, Werner Recital Hall, 1630 Corbett, DVAC 100. No need to fill out Recording Productions Request Form, although you must still follow CCM's procedures for scheduling a performance space.

Internal use projects capture material that is not licensed for external use, but desired for classroom use, teaching and learning, personal portfolios, reels, and auditions.

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 except for 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 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 events.

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, and last-minute requests for reception space will not be fulfilled.

Students may schedule up to 2 hours of individual rehearsal/recording time per week, 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. Equipment must be scheduled at least 10 business days in advance.  Business days are Monday – Friday, and do not include Holidays recognized by the University or other days when the University is closed. Late requests will not be considered.

• pianos, harpsichords, fortepiano (and their tuning)
• tables
• chairs
• music stands
• portable stereo and A/V equipment
• stanchions
• sign holders
• special lighting requests
• stand lights
• extension chords and power strips

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, or you can visit their website.

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, and may be a violation of policy 16-19 with the University. You can find more information on this policy here.

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.

For additional details and policies on recording projects at CCM, please refer the Section titled: CCM recording and streaming policy on page 24 of this document.

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.

View additional details and policies on recording projects at CCM.

Two chamber music rehearsal rooms (MEM 250 and 454) are available in Memorial Hall for student chamber groups. They are each equipped with a grand piano. You can schedule these rooms through the Scheduling Office during regular office hours. Chamber must rooms have 5 stands in them, at all times. Students should provide their own music stands for rehearsals in chamber music rooms.

The large ensemble rehearsal rooms in Corbett Center (rooms 1340, 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, and you will be asked when booking these rooms if you have a key or access to a key to unlock and lock it.

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. 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. Students will have access to the performance venue ½ hour prior to their performance time. For Recitals scheduled in Patricia Corbett Theater or Cohen Family Studio Theater, dress rehearsals will be limited to the day of the performance.

• 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 Services two weeks (10 business days) prior to the first rehearsal. 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. Last-minute requests will not 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, or by the GAs associated with the ensemble. All stage equipment must be struck immediately after every stage rehearsal and performance. There are no exceptions to this rule. Equipment must always be returned to its proper storage area after use.

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 and require at least 3-4 weeks’ notice to be considered.

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.  During rehearsals and performance, these panels must be fully closed to maximize the acoustics of the hall and minimize off stage noise. 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.

The small, movable acoustic shell is available in Corbett and PCT.  It is important when placing the portable shell that its placement does not obstruct the fire curtain. Special uses, and use of the Corbett small shell in PCT or vice versa should be discussed with the Performance Operations Director. Nothing may ever be hung, draped, or otherwise affixed to the surface of any shells.

The Performance Management office will make every attempt to see that enough chairs and stands are available on the stages and in the rehearsal rooms for every scheduled event. However, Ensemble Graduate Assistants may be required to move chairs and stands from one location to another at times when multiple rehearsals are scheduled, and performance management staff is otherwise engaged. At the end of a rehearsal, chairs and stands should always be returned to the location they were moved from. 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 be kept in DVAC 300 only. Please make sure that all on-stage stands are functioning and pleasing to the eye.

Stands may not be removed from CCM and should not be moved between rooms 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.

Requests for chairs and stands above the usual number in any venue must be made as soon as possible, or at least 10 business days prior to first date they are needed. Failing to make requests within those 10 business days may be impossible to fulfill due to lack of resources.

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, as soon as possible, or at least 10 business days prior to the first date that the equipment is needed. Corbett Auditorium, PCT, Cohen Family Studio Theater 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 in Corbett Auditorium are needed, see Jessica Lucas in Performance Management. Risers should never be left in the backstage area of a hall, for any reason. 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. 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, as soon as possible, or at least 10 business days prior to the first date that the equipment is needed. Failing to make requests within that 10 business days prior will result in denial of these requests. 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, or 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 check in with Performance Management to make sure their equipment will work with the equipment being provided. Projectors use HDMI input. Adapters and converters are not provided by the Performance Management office.

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
• Cue 1 or Cue 4 can be used interchangeably for intermissions.

The selection and use of any keyboard instrument on stage must be coordinated through Scheduling Services at the time setup information is provided, as soon as possible, or at least 10 business days prior to the first date that the instrument is needed. Failing to make requests within that 10 business days prior will result in denial of your request. Ensembles should submit a list of which concerts and corresponding rehearsals will need piano or harpsichord at the beginning of each semester so that the piano technicians can plan accordingly. Tuning of the instruments will be arranged according to the information provided to the Scheduling Office. Extreme care must be exercised when moving the instruments around onstage to ensure they are not damaged. 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, and submitted as soon as possible, or at least 10 business days prior to the first date that the instrument is needed. Please note, just because you make the request, does not mean that it may be fulfilled, especially if you have made the request after the deadline repeatedly mentioned above.

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. Currently, there are no functioning organs in any of the CCM venues.  Specific questions regarding organs must be directed to Performance Management.

Plans to place performers backstage, in the house, balcony, aisles, or in any adjacent space must be included in the set-up sheet for the event, as soon as possible or at least 10 business days prior to the first date of use. 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 every single rehearsal and/or performance. Please make sure that the Performance Management Office is aware of these set-ups and that the proper procedures have been followed.

1. Announcement: Every semester an announcement outlining scheduling procedure will be sent to students’ UC email about scheduling recitals with instructions on how to get a meeting. Usually, Fall semester recital scheduling opens up in Welcome Week, the week prior to the start of the semester, and Spring recital scheduling occurs in late October or early November.
2. Set an appointment to meet with Scheduling Services Program Manager as outlined in the email.
3. Meet With Scheduling Services Program Manager: to schedule recital time and go over policies and paperwork.
4. Obtain Approval: Within two weeks of meeting with the Scheduling Services Program Manager obtain signatures approving date/time/place from all required parties (lecture requires both studio teacher and lecture advisor’s approval; Cognate requires College Office approval).
5. Dress rehearsals (2 hours total) can be set up 2 months in advance of the recital.
   
6. Program information and stage setup forms are due 2 weeks prior to the recital.

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.

Many Performance Studies students must present copies of the intended program to the adjudicators. This information must follow the recital formatting guidelines. Please contact your faculty member to see if your division requires a pre-recital hearing.

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.

• Mon-Fri: 5 p.m., 6:45 p.m., 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)

Faculty and Division head must approve and paperwork must be 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 pay any associated fees (i.e., rental or tuning fees). CCM will still generate programs for off-campus recitals.

(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.

• 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 cancellations must occur at least 2 weeks in advance unless there is an emergency. Rescheduled/Cancelled Recitals will need approval of Faculty, Scheduling Services Program 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.

The Scheduling Services Program Manager will be responsible for enforcing the cancellation/rescheduling policy. Students may appeal by having their Division Head email the Scheduling Services Program Manager explaining the situation. The Scheduling Services Program 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

Any cancelled/rescheduled recital that does not have a legitimate reason 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.

• 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

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.

• If you decide to host a reception, one 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 at least 14 days in advance. It should not be assumed that these areas are available, even if they appear to be empty. 
• 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
Lower boxes are used as accessible seating, as well as availability at house left in the first two rows.
Procenium 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
Depth of Stage in "large" shell setup: 3 pieces, from edge of Pit to back of shell: 51 feet 
Plaster Line to back of shell: 32 feet
Musical Instruments: Harrison Organ (nonfunctional) and 2- 9’ concert grands (Steinway D #3 & #4)  
Orchestra Pit: Hydraulic elevator pit or moving equipment, not individuals. Stage floor upstage of proscenium is fully trapped.
Recital Lighting Plot: The recital lighting plot allows for basic stage wash, as well as various colors of overhead light on stage. There is no possibility of specific isolation on stage without adding instruments to the plot. To turn on lights, press any of the buttons near backstage entrances marked “WORK LIGHTS”. The main light control is on the Stage Management Panel (SMP) located at Stage Right.
Sound Support: There are two wireless mics, can be either handheld or lavalier, and the option for playback through the system with advance notice.
Lift Area:

• Depth at Center: 16 feet
• Width at downstage edge: 47 feet
• Width at upstage edge: 41 feet

Stage floor upstage of proscenium is fully trapped. 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 Media Production.

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.

Seating:  378 seats, in a steep rake
Breakdown: 366 fixed seating, 26 box seats along the last row at back of house. Box seats are the only accessible seating in the venue. 
Stage House Opening: 41 feet
Stage House Depth: 

• Edge of stage to back wall: 43 feet
• Edge of stage to most upstage softgoods:40 feet

Recital Lighting Plot: The recital lighting plot allows for basic stage wash.  There is no possibility of specific isolation on stage without adding instruments to the plot. 
Sound Support: There are two wireless mics, can be either hand held or lavalier, and the option for playback through the system with advance notice.
Musical Instruments: One 9’ concert grand (Steinway D #5)

Modified Thrust stage with a pit that is covered when not in use. To turn on lights, press the single button with the green light 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. The main light control is on the SM panel located Stage Right.

Seating: 100 - 140 seats, flexible depending on configuration of the audience risers
Recital Lighting Plot: The recital lighting plot allows for basic stage wash.  There is no possibility of specific isolation on stage without adding instruments to the plot.
Sound Support: There are two wireless mics, can be either handheld or lavalier, and the option for playback through the system with advance notice.
Musical Instruments: One 7’ concert grand (Steinway D #5)

Designed to be totally flexible depending on the needs of the production. The configuration stays in place for the full year. 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 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, press the single button with the green light to the right of the main double doors as you enter from the Atrium. The main light panel is located right inside the door from the light block hallway to the Scene Shop Wing. It's inside the door to the right.

Seating: 280 seats, most fixed, some loose seats. Very small balcony, 1 row loose seats.
Breakdown: most fixed, some loose seats. Very small balcony, one row loose seats.
Stage Width: 31 feet. Depth: 20 feet.
Recital Lighting Plot: The recital lighting plot allows for basic stage wash.  There is no possibility of specific isolation on stage without adding instruments to the plot. 
Sound Support: There are two wireless mics, can be either hand held or lavalier, and the option for playback through the system with advance notice.
Musical Instruments: Two 9' concert grands ( Steinway #1 “ New York” , Steinway #2 “Hamburg”)1 Boesendorfer concert grand

The back walls of the stage are the doors to the piano garages. 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, press the single button with the green light as you come in from main lobby entrance to the right of the house left door. The main light panel is located backstage, next to the stage manager’s station.

Seating: 144 seats
Stage Width: 26 feet. Depth: 15 feet.
Musical Instruments: One 7' concert grand, (Steinway B7).1 Harpsichord. The Strader Organ

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 doPerformance Management does not staff it for concerts. Light Controls are next to the backstage door.

Seating: 100 seats
Stage Width: 19 feet. Depth: 22 feet.
Musical Instruments: Two 7' concert grand, (Steinway B7, #1 & #2.)

This is a non-supported venue, meaning Performance Management does 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.

Submit all program information no later than two weeks (14 days) before the concert date. Within 3-5 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.

Submit all programs to ccmsched@ucmail.uc.edu in typed form as an email attachment in Microsoft Word (no PDFs please). The file name is to be formatted MM.DD.YY Last Name.docx. Eg: 03.01.25 Corbett.docx

Give the name of the ensemble/performer at the top of the program, then list the names of the music director, conductor (if different), and any featured soloists, guest artists, or accompanists 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 1 hour 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.

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

513-556-9430

•  Ray Dobson, Senior Director of Performance Operations 513-556-9460 CC 3820B, dobsonrn@ucmail.uc.edu
• Jessica Lucas, Performance Operations Director 513-556-9429 CC 3820D, lucas2j2@ucmail.uc.edu
  

513-556-9429 CC 3820D

•  Ray Dobson, Senior Director of Performance Operations, 513-556-9460 CC 3820B, dobsonrn@ucmail.uc.edu
• Jessica Lucas, Performance Operations Director, 513-556-9429 CC 3820D, lucas2j2@ucmail.uc.edu
• Performance Management Operations GA's ccmoperations@ucmail.uc.edu
  

513-556-9430 CC 3820C 

• Carmen Granger, Program Manager, 513-556-9430 CC 3820C, grangecf@ucmail.uc.edu
• Scheduling GA's, CCMSched@ucmail.uc.edu
  

513-556-9413 MEH 3110 

• Jody York, Procurement Coordinator & Mail & Duplication Supervisor, 513-556-9413 MEH 3110, yorkja@ucmail.uc.edu
  

513-556-9565 CC 1470

• Rebekah Whitacre, Director of Piano Services, 513-556-9565 CC 1470, rebekah.whitacre@uc.edu
• Lisa Li, Piano Technician, 513-556-9565 CC 1470, li2ls@ucmail.uc.edu
• Piano Services, pianotec@ucmail.uc.edu

513-556-9467 EMERY

• Melissa Godoy, Managing Producer, 513-556-9467, godoymm@ucmail.uc.edu
  
• Simón Sotelo, Recording Production Director, 513-556-9437, simon.sotelo@uc.edu

513-556-4183 CC 3885A

• Matthew Wilson, Box Office Manager, 513-556-4183 CC 3885A,  wilso6mw@ucmail.uc.edu
• CCM Box Office/24-Hour Concert Line 513-556-4183

513-556-1111

513-558-2500