DEPARTMENT OF MUSIC FACULTY POLICY MANUAL:
tenure process in the department of Music

(Approved by Tenured Faculty, Department of Music, 11/22/06)

Amendments to this document may be made by a motion and ratified by a simple
majority of the entire tenured voting faculty

ALSO SEE: College of Fine Arts Guidelines: Promotion & Tenure Process, Aug. 31, 2006 (PDF, 312KB)

CONTENTS:

Introduction
Evaluation and Mentoring Process for All Faculty Members
Evaluation of Teaching
Evaluation of Scholarly/Creative Work
Service
Personal Characteristics
Studio Faculty
Ensemble Directors
Academic Faculty

introduction

The University of New Mexico Faculty Handbook enumerates the general and contractual regulations for tenure and promotion that all colleges, schools and departments in the university must follow. The tenure process itself is further clarified by tenure-promotion documents at the college level and the department level. College and department documents, such as the one below, seek to amplify and specify how the process and standards that are elaborated in the faculty handbook can be applied at the college and department level. As such, these documents represent guidelines that are necessarily changing as the specific disciplines change but which hold fast to the policy established by the faculty handbook. At the same time, such process guidelines are invaluable in elucidating important differences between disciplines since there are few comparative models within the university, for instance, to work done by studio faculty and ensemble directors or, for that matter, the differences between academic faculty in other university disciplines and those in music.

The process toward tenure for faculty positions informally begins during the search for a faculty member. Knowledgeable and respected faculty members must be appointed to the search committee and given guidance by the department chair to assure a successful search which results in hiring a talented faculty member who is capable of achieving a national level of excellence in his or her field. It continues with the structuring of the position and wording of the hiring document to reflect the needs of the department and its students and the level to which one must demonstrate excellence to have been determined successful as a faculty member.

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evaluation and mentoring process for all faculty members

Evaluation of a faculty member for tenure must include the assessment of teaching, creative work, service and personal characteristics as outlined by the faculty handbook. To be most beneficial, the process for evaluating faculty members must be thorough, ongoing, and provide opportunity for improvement and feedback.

The department chair has responsibility for the appointment and oversight of evaluation/mentoring committees who represent, demonstrate, and expect high standards of teaching, creative work, service, and personal conduct to set an example for younger faculty members and hold them accountable for achieving excellence in their respective areas.

All members of the tenured faculty have an obligation to be involved in the process of evaluation at some level and some members will accept responsibilities for mentoring and more in depth evaluation. The process toward achieving tenure needs to be clear and consistent to be equitable to the candidate, yet rigorous to assure that our students receive outstanding instruction and that the university awards tenure to faculty members truly deserving of the status.

EVALUATION AND MENTORING COMMITTEES

Each tenure track faculty member will be assigned two separate committees: one to evaluate and mentor in the area of teaching and one to evaluate and mentor in the area of scholarly/creative work. Each committee will be comprised of two tenured faculty members and the makeup of committees and their specific roles will be determined according to each area of specialization as follows:

Studio Faculty: 1 studio faculty member and 1 large ensemble director.
Ensemble Director: 1 studio faculty member and 1 large ensemble director.
Academic Faculty: 1 academic faculty member in a related area and 1 at large faculty member.

At the beginning of the year prior to seeking tenure (year 5), one additional at large member will be appointed by the department chair to each evaluation committee to broaden the perspective and they will remain members of the committee through the tenure decision at the department level.

Each committee is charged with working with the faculty member throughout the tenure process to develop excellence in each of the areas of teaching or scholarly/creative work and provide constructive criticism and feedback regarding progress in each area.

Each committee is required to meet with the faculty member once each year to discuss progress and file an annual report with the department chair. The annual reports by the evaluation committees will be made available to the entire tenured faculty during the mid-probationary and final year of probationary status.

Each member of the teaching evaluation committee is expected to observe teaching a minimum of three times each academic year. The teaching committee will interview students and solicit input from other faculty members in related areas. Each member of the scholarly/creative work committee is required to be knowledgeable of the faculty member’s scholarly/creative work for the current year by reviewing material, reading reviews, seeking input from other faculty members, and/or attending or listening to performances by the faculty member.

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ANNUAL MEETING OF THE TENURED FACULTY

The full tenured faculty will meet annually with the department chair to discuss the progress of each probationary faculty member in the areas of teaching, creative work, service, and personal conduct. The full tenured faculty will meet at mid-probationary and the final year of probationary status for each candidate, write a summary report about each candidate’s achievements in teaching, scholarly/creative work, service, and personal conduct and cast a formal vote for or against reappointment/tenure.

ANNUAL MEETINGS WITH DEPARTMENT CHAIR

The department chair will formally request summary reports from the teaching and scholarly/creative work evaluation committees near the end of each academic year. The department chair will meet with each tenure track faculty member once each year to discuss the content of those summaries and allow the faculty member an opportunity to respond. The department chair will provide guidance in the area of service and personal characteristics.

The department chair will write a formal report that includes progress and recommendations in the areas of teaching and scholarly/creative work that will become part of the faculty member’s record toward achieving tenure. Copies of those reports will be given to the faculty member and to the heads of the evaluation committees. The department chair or committee head may request a meeting to discuss discrepancies in the reports or to develop strategies for guiding the studio faculty member in subsequent years.

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Evaluation of Teaching

The evaluation of teaching has several applications including improvement of instruction and learning, assessment for tenure and promotion, and use in searches for new faculty members.

Faculty members can be evaluated in five areas related to teaching:

1. Content of instruction
2. Pedagogical technique
3. Recruitment and retention
4. Student achievement
5. Professional philosophy

Expectations for content of instruction, pedagogical technique, recruitment and retention, and student achievement will be delineated by area of specialization in the following document. All faculty members, regardless of specialization, will be expected to adhere to the same professional philosophy.

Professional philosophy
Each faculty member’s professional philosophy must be one that prepares the student for success in the field and supports the mission of the Department of Music and the University of New Mexico. This area of evaluation may be the most difficult to assess, yet will be important to include to gain a full picture of the faculty member.

Faculty members must have a professional philosophy that encourages:

1. Support among students for their peers and other faculty members.
2. Support for all aspects of the curriculum including academic courses, large
   ensembles, small ensembles, private studios, and music education courses.
3. Willingness to contribute one’s talents to the community at large.
4. Development of a strong work ethic and eagerness to learn and consider new
   viewpoints.

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Evaluation of SCHOLARLY/CREATIVE WORK

It is expected that faculty members will contribute significant scholarly and/or creative work in their respective areas, consistent with standards across the College of Fine Arts. The majority of the scholarly/creative work must directly relate to the major area for which one was hired but allow for individual differences of emphasis.

The standard for the evaluation of scholarly/creative work must be consistent across the department: a nationally recognized level of excellence in the area of scholarly/creative work by the time a tenure decision is to be rendered. The scope and depth of the scholarly/creative work will be considered.

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SERVICE

The definition of Service and evaluation criteria is well covered in the Faculty Handbook and College tenure guidelines. All faculty members of any rank are expected to participate cooperatively in departmental matters and serve on department committees, whether they are standing committees, area committees, or ad hoc committees.

Recruiting of music students is particularly important and while the results of effective recruiting is measured in teaching (for studio faculty members and ensemble directors), the actual work load of recruiting is measured under the category of service. Factors which contribute to an affirmative evaluation in this category are: willingness to make effective contact with music teachers and students in the public schools; performances, clinics, or master classes in the high schools; participation in festivals as judge or clinician; and participation in recruiting trips throughout the state and outside the state.

Music faculty members are expected to serve in departmental, College of Fine Arts, or University capacities; to function professionally in national, regional, state, or local activities; and to administer broadly to society in a professional capacity. The evaluation criteria are included in but not limited to the following, and the faculty member should have fulfilled a representative number of these.

1. The professor is effective at student recruitment on a local, state, and national level;
2. The professor is a member, an officer, or board member of local, state, or national organizations or serves as consultant at these levels;
3. The professor is active as a student advisor and knowledgeable about University and Department of Music regulations;
4. The professor is a constructive and participating member in his teaching area and fulfills all Departmental faculty responsibilities;
5. The professor is an active member of appropriate professional societies and organizations;
6. The professor fulfills committee assignments with a high level of interest and participation;
7. The professor has applied for and received grants and awards that bring local and national recognition to herself/himself and the Department of Music.

Evidence documenting the quality of service will be gathered through faculty evaluations, biographical statements, or letters from pertinent individuals or groups. It is expected that the level of service should increase considerably after the reception of tenure and promotion to associate professor but be relatively limited for junior professors who must fulfill University requirements for excellence in teaching and creative work/research within their tenure track. As such, obligations for service in the Department of Music increase at each promotion step.

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PERSONAL CHARACTERISTICS

This category may be considered to include all traits that contribute to an individual’s effectiveness as a teacher, as a leader in professional area, as a colleague and university citizen. Music is a cooperative and interactive art that by it’s nature demands a respect for the interpretation and musicianship of others in order to effectively bring about creative collaborations and productions. In that sense, collegiality is imperative for professors of music since interpersonal relationships can have definitive impact on curriculum (e.g., student and faculty concerts and recitals, athletic band performances, outreach and recruiting presentations), an effect that can also be measured publicly.

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STUDIO FACULTY

TEACHING

Content of Instruction

Content encompasses developing in students the performance skills necessary to master the playing of one’s instrument and the development of cognition as it relates to the performance and understanding of music. Studio faculty must have a professional knowledge in each of the following areas and provide instruction that develops these qualities in their students:

1. Performance skills necessary for performance on one’s particular instrument. These include tone production, intonation, articulation and/or bowing, diction in English, German, Italian, and French for vocalists, fingering, rudiments for percussionists, facility, body usage, endurance and range.
2. Fundamentals of musical performance including rhythm and pulse, tempo, style, phrasing, and interpretation.
3. Etudes and repertoire that are appropriate for the level of student, encourage growth and development, and represent the most meaningful music written for the particular instrument.
4. Musical understanding and musicality in the context of different genres, styles, and forms of music.
5. Effective warm up techniques that develop performance fundamentals and prevent performance associated injuries.
6. Preparation in solo performance and/or accompanying for piano majors, depending upon student’s emphasis.

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Pedagogical Technique

Studio teachers must possess a variety of teaching strategies that take into account the diverse levels and ability and experience of our students and the multiple ways in which students learn and experience music. Studio instruction differs from all other instruction on campus in that instruction is delivered one on one, and, in most cases, the student studies with the same studio professor each semester throughout the degree. Studio faculty must be capable in each of the following areas:

1. Sequencing and organization of instruction.
2. Ability to identify and analyze problems.
3. Providing solutions to problems.
4. Delivering appropriate feedback.
5. Setting and clearly communicating appropriately high expectations.
6. Appropriate use of modeling.
7. Developing self-evaluation in students.
8. Developing good practice habits and preparation for performance.

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Recruitment and Retention

In addition to effectively teaching the students in one’s studio, studio teachers are expected to develop their studios to their full potential in regard to size and quality of students present in the studio. Studio faculty members will work with the administration to develop regional and national visibility for their studio and develop a studio that is competitive with the finest studios in similar universities. Studio faculty members will be expected to:

1. Identify, recruit, and retain students majoring in music with high musical potential
   at the undergraduate and graduate levels.
2. Consistently provide a studio of ample size and quality that supports viable large
   and small ensembles.

Maintaining balance between undergraduate and graduate student populations is important to maintaining a balanced music program, healthy ensembles, and adequate course offerings for each degree plan. Proportions may vary by studio and be affected by scholarship resources available, yet it is important to maintain a healthy population of undergraduate and graduate students.

NOTE: At the time of hire, the studio faculty member will inherit a studio that may or may not reflect the goals of the Department of Music. It will be important to have demographic information about the makeup of the studio at the beginning of the hire so that development and growth of the studio can be fairly assessed for the faculty member being evaluated. Outside influences upon the studio, such as overall quality of large and small ensembles can have an impact upon studio development, and while these factors may not have an overriding impact upon the studio, they should be considered.

Student Achievement

The overall goals of instruction are to cause student learning and development. Indicators of student learning and development may include the following:

1. Progress on jury examinations.
2. Graduation rates.
3. Student awards.
4. Quality of required student recitals.
5. Achievement in large ensembles.
6. Acceptance to nationally respected graduate programs.

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Methods for Evaluating Teaching

Methods for evaluating teaching will include direct observation, interviews with students, input from other faculty members in the respective performance area, review of periodic student evaluations (ICES), and review of teaching portfolios maintained by the studio faculty member.

Studios will be evaluated for number and quality of students and balance between undergraduate and graduate students using the Department of Music recruitment document as a guide, comparison to the best UNM studios and the finest studios for the respective instrument at other similar universities. Growth patterns and retention in the studio will be considered.

Teaching Portfolios

Each studio faculty member will annually compile information into a portfolio that will enable the evaluation committee and tenured faculty to evaluate progress in each area of teaching. The portfolio will consist of:

1. Demographic information about the studio that lists each student, major, year in school and performance level achieved.
2. List of student recitals including repertoire performed.
3. List of concert music performances including repertoire performed.
4. Jury results.
5. Course syllabi that outline goals and objectives, grading procedures and requirements for the course.
6. Large ensembles and small ensembles in which students performed.
7. List of student awards and competitions entered.
8. Record of off campus performances and festivals attended by students.
9. Record of graduate schools attended and positions attained by graduates of the studio.
10. List of guest artists invited to campus

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CREATIVE WORK

In general, all studio faculty members will need to demonstrate the following achievements in order to receive tenure and will be evaluated on the progress that has been made in these areas:

1. The faculty member presents excellent recitals and performances on campus, at other universities, and at professional conferences.
2. The faculty member has produced a significant body of high quality work related to his/her instrument that may include articles in professional journals, commercial recordings, reviews, and compositions.
3. The faculty member has presented a significant number of master classes and clinics at other universities and professional conferences.
4. The faculty member has performed as a guest soloist, chamber musician, and/or orchestral musician with prestigious professional organizations and/or venues.
5. The faculty member has established a national reputation as a pedagogue and/or performer of his/her instrument.

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ENSEMBLE DIRECTORS

TEACHING

Ensemble directors will be evaluated in the same five areas of teaching as other faculty members. In addition, large ensemble directors have a special role in teaching that includes effective administration of the large ensemble.

Content of Instruction

The repertoire the large ensemble director selects for his/her ensemble to study and
perform provides most of the content for instruction. Several criteria should be
considered in selecting repertoire:

1. The repertoire chosen should be significant and meaningful to have importance for the students’ development of musical taste, awareness, and understanding.
2. It must be an appropriate level for the students involved to be both learnable and challenging.
3. The repertoire should encompass various styles and genres to provide broad based musical experiences for the students.
4. The repertoire selected for specific performances should make programmatic sense. The amount of repertoire should be of an appropriate length for public performance and individual pieces should be programmed in consideration of other works on the concert to provide variety and involvement of all members of the ensemble.

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Pedagogical Technique

Pedagogical technique in the large ensemble context is often referred to as rehearsal technique. The ensemble director should be an excellent manager of rehearsal time, should have a good grasp of group dynamics, should have clear objectives for the rehearsal, and he/she should provide a good balance between inspiration and objectivity. A successful ensemble director must have well formed concepts and ideals of how the music is to be performed, excellent ability to analyze and hear spontaneously how students are performing the music, and possess efficient and clear methods for altering students’ performance of the music to fit the ideal model.

The ensemble director must develop in students, appropriate concepts of sound including tone quality, intonation, and blend, appropriate expression including phrasing, dynamics, balance, articulation, bowing, and diction, accurate renditions of the music including style, precision, and technical fluency, and the ensemble director must provide appropriate tempi for rehearsal and performance of the repertoire.

The ensemble director is responsible for clear communication to students of course objectives, attendance policy, concert procedures, and grading policy.

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Recruitment and Retention

Ensemble directors must take an active role and work closely with the studio faculty to recruit talented students to UNM. Effective recruitment will include oversight for maintaining balanced instrumentation for a performance area, providing assistance to studio faculty members for recruitment of music majors into a studio, maintaining visibility in the public schools and conducting profession, attending scholarship auditions, and recruiting conducting majors and graduate assistants for the large ensembles. The Associate Director of Bands will have primary responsibility for recruiting non-music majors into the athletic bands.

For effective retention of students, the ensemble director is responsible for maintaining a high quality ensemble experience that is meaningful and challenging to the students involved.

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Student achievement

Student achievement in the ensemble can best be measured by the quality of the ensemble performances. Performances should be of appropriate duration and frequency to provide students with appropriate challenges while also allowing time for mastery of the repertoire being performed. Performances should demonstrate fluency, accuracy, and artistry.

Student achievement can also be measured in the daily and weekly progress of rehearsals. Steady progress through rehearsals should be evident and students on a regular basis should achieve a feeling of accomplishment.

Administration of the ensemble

Ensemble directors have a special and unique role in teaching that includes effective administration of the ensemble. Ensembles involve many students of different disciplines, different levels of ability, performing on different instruments, each with their own unique challenges. The effectiveness of teaching is significantly impacted by the ability of the ensemble director to administrate the ensemble, and therefore it must be evaluated within the context of teaching.

Effective administration includes appropriate advanced scheduling of performances, rehearsals, and auditions with clear communication to students and faculty, planning of physical needs, timely acquisition of materials and repertoire, effective use of student musicians qualified for an ensemble, timely communication of budgetary needs to the department chair, budget management for those directors with budgetary oversight, and clear and timely communication with the studio faculty about needs of the ensemble.

The Director of Bands and Associate Director of Bands must work effectively with other university constituencies who utilize the services of the bands and/or provide funding, such as the Athletic Department.

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Methods for Evaluating Teaching

Methods for evaluating teaching will include direct observation, interviews with students, input from other faculty members in related areas, review of periodic student evaluations, and review of teaching portfolios maintained by the large ensemble director.

Teaching Portfolios

Each large ensemble director will annually compile information into a portfolio that will enable the evaluation committee and tenured faculty to evaluate progress in each area of teaching. The portfolio will consist of:

1. Roster of students in each large ensemble with demographic information that
   includes major, year in school, and instrument/voice type.
2. List of concerts by each large ensemble including repertoire performed.
3. Course syllabi that outline goals and objectives, grading procedures and
   requirements for the course.

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CREATIVE WORK

The creative work that is expected for each large ensemble director may differ due to the different nature and function of the large ensembles for which the director has responsibility. The specific creative work expected should be specified in the hiring document.

All ensemble directors will need to demonstrate the following achievements in order to receive tenure and will be evaluated on the progress that has been made in these areas:

1. The faculty member has established a national reputation as a director of
   large ensembles in the field he/she is assigned.
2. The ensemble director’s large ensemble(s) present excellent performances
   appropriate to the ability and makeup of the students in the ensemble.

In addition, ensemble directors will need to demonstrate achievement in at least three of
the following areas to receive tenure:

1. Faculty member has produced a significant body of high quality work
   related to his/her field that may include articles in professional journals,
   recordings, reviews, compositions for the large ensemble, and marching
   band half time shows.
2. Faculty member does significant guest conducting of high school honor
   groups, at other universities and/or professional groups.
3. Invitations for the director’s large ensemble to appear at professional
   conferences.
4. Faculty member has presented a significant number of clinics and lectures at
   professional conferences or other universities.
5. Faculty member adjudicates at large ensemble festivals.

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ACADEMIC FACULTY

The academic category includes those faculty members specializing in ethnomusicology, interdisciplinary studies, musicology, music education and music theory-composition. Among the three general categories of faculty in the Department of Music—applied studio, ensemble directors and academic—the teaching and scholarly expectations of academic faculty align most closely with those found in other university departments. Accordingly, sections of the following (in quotation marks) refer directly to the UNM Faculty Handbook.

TEACHING

Content of Instruction

Content encompasses developing in students the intellectual understandings necessary for
competence in a particular area of study. Content of instruction should:

1. Form a legitimate portion of the field of music that reflects the current state of knowledge in the field.
2. Teach the fundamentals of the subject.
3. Be challenging but appropriate to the level of students.
4. Develop concepts that facilitate ability to think and reason about the subject, form generalizations, notice similarities and differences within the subject.

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Pedagogical Technique

An effective teacher should:

• Demonstrate effective communication skills.
• Show evidence of strong preparation.
• Demonstrate effective management skills.
• Organize individual topics into a meaningful sequence.
• Demonstrate an ability to interact with students in an encouraging and stimulating manner.
• Demonstrate a commitment to the discipline.
• Provide clear communication about course objectives, requirements, and grading.
• Provide effective and timely feedback and evaluation of student progress.

Recruitment and Retention

All music faculty members are expected to share the responsibility for recruitment of talented students to the Department of Music. The amount of responsibility and the nature of the type of recruitment expected will vary by discipline.

For example, music education faculty members are expected to work closely with studio faculty and ensemble directors to recruit promising prospective music education majors. There exists a curriculum leading to a degree in music education at both the undergraduate and graduate levels and many students leaving high school are aware of the possibility of teaching music as a profession. Therefore, it is reasonable to expect faculty members in this area to devote significant effort toward recruitment of students who will complete these degrees.

On the other hand, faculty members who teach a discipline that serves the entire music department without leading to a degree in that discipline, such as undergraduate music history, should be expected to assist with recruitment in a more peripheral way. The hiring document will specify the nature and extent of recruitment expected for each faculty member.

Good retention is an expectation of the University, and to a certain degree, reflects the effectiveness of instruction. However, effective instruction is not the only factor upon retention and other factors such as retention rates across the university, nationally comparative retention rates within the specific academic discipline, and student preparation for a subject must be considered when considering classroom retention rates. It will be the duty of the teaching evaluation/mentoring committee to identify retention rates above and below norms to indicate distinguished teaching or teaching that needs improvement.

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Student Achievement

Indicators of student learning and development may include graduation rates, student awards, acceptance to nationally respected graduate programs, and the quality of special student projects, including master’s projects and theses.

Methods for Evaluating Teaching

Methods for evaluating teaching will include direct observation, interviews with students, input from other faculty members, review of periodic student evaluations, and review of teaching portfolios maintained by the academic faculty member.\Methods for evaluating teaching will include direct observation, interviews with students,
input from other faculty members, review of periodic student evaluations, and review of
teaching portfolios maintained by the academic faculty member.

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Teaching Portfolios

Each academic faculty member will annually compile information into a portfolio that will enable the evaluation committee and tenured faculty to evaluate progress in each area of teaching. The portfolio will consist of:

1. Course syllabi that outline goals and objectives, grading procedures, and requirements for the course.
2. Record of student achievements and awards within the field.
3. Record of positions attained and graduate schools attended by graduates in the field.
4. Examples of student work in the field

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CREATIVE-SCHOLARLY WORK

In describing expectations for the scholarly efforts of faculty across the enormously diverse range of disciplines found in a modern university, the Faculty Handbook allows for the unique creative products of artists such as studio faculty and ensemble directors:

“The term Scholarly Work…comprises scholarship, research, or creative work. Scholarship embodies the critical and accurate synthesis and dissemination of knowledge. The term research is understood to mean systematic, original investigation directed toward the generation, development, and validation of new knowledge or the solution of contemporary problems. Creative work is understood to mean original or imaginative accomplishment in literature, the arts, or the professions.”

The professional output of academic faculty in the Music Department, however, is properly viewed as scholarship or research as characterized above. Faculty members in any area may work in secondary areas (e.g., a performer may also conduct, a performer may also write compositions, a composer may also perform) and therefore receive similar notice for creative work outlined in any of the areas (studio faculty, ensemble directors, contemporary problems. Creative work is understood to mean original or imaginative accomplishment in literature, the arts, or the professions.” The professional output of academic faculty in the Music Department, however, is properly viewed as scholarship or research as characterized above. Faculty members in any area may work in secondary areas (e.g., a performer may also conduct, a performer may also write compositions, a composer may also perform) and therefore receive similar notice for creative work outlined in any of the areas (studio faculty, ensemble directors, academic faculty) outlined in this document).

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The hiring document must describe scholarly output expectations as clearly and objectively as possible, while also accounting for the inherently subjective nature of judging the merit and scale of a given work. The following designations establish relative levels of significance but are by no means comprehensive:

Tier I

• Book published by a reputable publisher
• Large-scale software or multi-media project published by a reputable publisher
• Large-scale composition recorded and performed by ensemble of international repute and/or recorded and distributed by commercial label

Tier II

• Full-length article in a major refereed professional journal (print or electronic)
• Chapter in a book
• Medium-scale software or multi-media project
• Composition of any size recorded and performed by ensemble of national repute and/or recorded and distributed by commercial label

Tier III

• Published review of a book, dissertation or educational product
• Clinic session or paper presented at an appropriate national professional conference
• Completed composition

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The standard minimum expectation for academic faculty seeking tenure is three works at Tier II and four at Tier III. A Tier I accomplishment may be considered to have significance equal to as many as three Tier II works, although in such most cases the candidate would be advised to bolster the case for tenure with output at Tier II. It must be understood that the above “tiers” are a guide and that lines can be blurred for a given creative work as to how to weight its significance. In such cases, the “counting” of significant achievements must be done in such a way as to grant the tenure-promotion candidate the ability to defend a more positive weighting.