MMED686/PMED686 Choral Conducting for Music Educators Summer 2015

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1 MMED686/PMED686 Choral Conducting for Music Educators Summer 2015 Instructor Donald Nally Contact Phone: PRE- ASSIGNMENT and REQUIRED TEXT/RESOURCES: Preparatory reading Conversations with Joseph Flummerfelt: thoughts on conducting, music and musicians, by Donald Nally, Scarecrow Press * Students are required to purchase this text online Analysis of Five Works by Herbert Howells, with reference to features of the composers style, by Martin John Ward, Chapter 1 Howells Scale p13-23, also, optional: Chapter 5 Take him Earth for Cherishing pp Found here: To be immersed in words: choral works of Samuel Barber, Chapter 4 Sure on this shining night, Chapter 8 To be sung on the water, Donald Nally. Provided in pdf form. Bach B minor Mass Preface, by Neil Jenkins (information on self- borrowing and parody) Found here: Julius Herford: His Life, Teaching, an Influence on the Choral Arts in the United States, (Diss. University of North Colorado): Method of Score Study and Classroom Teaching, pp53-70 Provided in pdf form. Art and Activism: An interview with Ted Hearne, by Dustin Luke Nelson, InDigest, 2010 Found here: Interview with James MacMillan for the Royal Flemish Harmonic, dealing with tradition, Scottish influence, and style Found here: Scores required to be arranged through U of Arts Samuel Barber: To be sung on the water (Schirmer) Barber: Sure on this shining night (Schirmer) Herbert Howells: Behold, O God, our defender (Novello) Howells: A spotless rose (Novello) Handel: Coronation Anthem No. 3: My heart is inditing (FULL SCORE Oxford) The University of the Arts 320 S. Broad Street Philadelphia, PA uarts.edu cs.uarts.edu/sms

2 Bach: Qui tollis peccata mundi, from Mass in B minor, BWV 232 (FULL SCORE Barenreiter is probably prohibitively expensive, so CPDL or ISMLP is acceptable be careful about using a score with voice parts in clefs!) Jonathan Dove: In beauty may I walk (Faber) Ted Hearne: Privilege, mvt 4, We pretend (obtained through composer) Gabriel Jackson: Song (I gaze upon you) (Oxford U Press) MacMillan: A child s prayer (Boosey) Lang: again (Red Poppy/Music Sales) Whitacre: This marriage (Hal Leonard) Josquin: Ave Maria Ave_Maria_a_4.pdf Palestrina: Sicut cervus For reference: Vittoria: O magnum mysterium Program Objectives Students completing graduate music education coursework through The University of the Arts: Demonstrate the application of pedagogical and methodological means to teach music and employ effective teaching methods Communicate and collaborate with peers in diverse musical environments and school communities Are creative and innovative musicians who share these musical strengths with their learners through teaching Understand the diverse cultural, communal, and learning needs of 21st- century students Specific to each students participation as a conductor: develop conducting technique through gesture, breathing, and other physical attributes (such as facial expression and posture) integrate into a personal style those aspects of conducting and rehearsing specific to choral ensembles: diction, vocal technique and vocabulary, breath develop a relationship with texts and how to convey that to performers and audience; explore the relationship between txt and music make conducting decisions based upon score study and instinct, as well as self- evaluation develop techniques for effecting healthy group vocal production and how to communicate information about group vocal technique, how to invite singers to use a vocal production specifically appropriate to the repertoire of various style periods and the demands of individual composers develop a broad range of rehearsal techniques gain an understanding of styles and how to approach choral music of various eras Course Description This course will focus on the primary elements and components of advancing conducting skills for directors of choral ensembles at all levels. Students will be immersed in conducting techniques and personal gestures, score study as it concerns the relationship of text to music, analysis, and meaning in music. Students will be expected to apply understandings to real time ensemble conducting and coaching experiences, observation, reflection and critique throughout the course. The course is repertoire- based and students will cover a number of works from a variety of historical eras; there is an emphasis on podium time.

3 Student Learning Outcomes At the conclusion of this graduate music education course, students will: - Have an in- depth understanding of the foundational tenets of choral conducting, skills and knowledge - Understand and use choral conducting techniques that are an outgrowth of score study and analysis - Understand and employ choral conducting foundations and techniques to meet the needs of diverse learners and ensembles, while considering age and developmentally appropriate conducting in regard to the context of the musicians and music Grading Criteria and Assessment Methods Course assessment, evaluation and grading is based upon three factors: (1) the completion of the pre- assignment (this includes being familiar with the music to be conducted each day, as the class serves as the choir), (2) active engagement in daily course studies (preparedness to conduct and to discuss the works being conducted) and (3) in the completion of the two assignments (score editing and Herford analysis). Below is the rubric that will be utilized by faculty to assess and evaluate students in these three categories of learning and understanding. Please note that pre- assignment and final/post assignments should be included in the course outline at the end of this syllabus. Pre- assignment During class formative assessments Class assignments Basic Provides basic/unsatisfactory content and concepts in preparation for this course. Fails to actively engage in course content, application, and engagement of daily coursework or demonstrates inadequate knowledge of the musi. Does not adequately complete the two class assignments. Assignments may have been submitted late. Poor organization and lack of depth of knowledge evidenced. Average Accurately identifies content and concepts relevant to this course. Superior Demonstrates a deep understanding and preparation of content and concepts relevant to this course. Engages actively in course content and application of concepts in daily coursework; shows clear understanding of the music. Demonstrates a thorough and deep engagement in course content, application and understanding of daily coursework; has translated knowledge of music into expressive, effective gesture. Assignments evidence appropriate structure and organization and a general knowledge of the topics. They are submitted on time. Assignments are detailed and thorough; clear, organized, and with an understanding of the purpose of making such an assignment. They are submitted on time. The Grading Policy can be found in the Course Catalogue. Academic Integrity Policy A primary tenet of this course is to prepare students for professional responsibilities as teachers. The timely arrival to class as well as the daily preparation and engagement in course studies is essential. University policy on Academic Integrity may be found in the UArts catalog.

4 If students are not clear about what constitutes plagiarism, you might recommend Introduction to Research and Documentation available on the University Libraries website. Absences Due to the compressed nature of the five- day intensive course structure, absences from class will not be accepted. Students who arrive late to class or leave early will be held accountable for missed time through additional assignments to be completed outside of course hours. Technology Policies on Technology may be found in the Course Catalogue. Class Format All summer music studies courses that meet in- person are five- day intensive courses typically running for 8 hours per day. Students are responsible for preparation of materials, for engaging in course content as per the course description, and in being responsive to completion of pre and post coursework as detailed in the course outline. Courses offered online may be in a different format and may run for a longer amount of time, specific to the needs and intents of the course content. Educational Accessibility Students who believe they are eligible for course accommodations under the ADA or Section 504 or have had accommodations or modifications in the past, should contact the Office of Educational Accessibility at or access@uarts.edu to arrange for appropriate accommodations and to obtain an accommodations letter, if applicable. Faculty can provide course accommodations/modifications only after receipt of an approved accommodations letter from the Office of Educational Accessibility. Accommodation letters can be provided to qualified students at any time during the semester, but grades earned before the letter is received by the faculty cannot be changed. Course Outline This outline will be modified to suit the needs of this particular class community. Monday Morning 1 Introduction Conducting Exercises Chorale exercise Chant exercise Hindemith rhythmic exercises Morning 2 First conducting assignments Barber: To be sung on the water Barber: Sure on this shining night Howells: Behold, O God, our defender Howells: A spotless rose Afternoon 1 Exploring literature Barber: Twelfth Night Howells: Sequence for St. Michael

5 Howells: Take him Earth for Cherishing David Lang Afternoon 2 Continued conducting Barber, Howells Tuesday Morning 1 Exercise Exploring inner meter / partbooks Conducting chant Hindemith rhythmic exercises Discussion: Herford Analysis Morning 2 Conducting Handel: Coronation Anthem No. 3: My heart is inditing 1. My heart is inditing 2. Kings daughters 3. Upon thy right hand 4. Kings shall be thy nursing fathers Bach: Qui tollis peccata mundi, from Mass in B minor, BWV 232 Afternoon 1 Exploring Bach: Jesu, meine Freude, BWV 227 Handel: Choruses from Semele and Hercules O terror, from Semele Tyrants now, from Hercules Buxtehude: Das neugeborene Kindelein, BuxWV 13 Ted Hearne Afternoon 2 Continued conducting Handel and Bach Wednesday Morning 1 Exercise Discussions: inner metric life of music programming Hindemith rhythmic exercises conduct chant partbook singing Morning 2 Conducting Jonathan Dove: In beauty may I walk

6 Ted Hearne: Privilege, mvt 4, We pretend Gabriel Jackson: Song (I gaze upon you) Assignment due: Herford analysis of your Bach or Handel movement using a graph form (see booklet). Afternoon 1 Explore James MacMillan: Seinte Marie moder Milde Cantos sagrados Seven Last Words from the Cross Ted Hearne: Sound from the Bench Afternoon 2 Continued conducting Jackson, Hearne, Dove Thursday Morning 1 Explore and Conduct Discussion: commissioning Singing Anglican chant Continued conducting Jackson, Hearne, Dove Morning 2 Conducting please bring your own edition for the class, with inner metric symbols, breath marks, and translation added Josquin: Ave Maria Ave_Maria_a_4.pdf Palestrina: Sicut cervus For reference: Vittoria: O magnum mysterium Afternoon 1 Continued conducting Josquin, Palestrina, Vittoria Afternoon 2 Continued conducting Josquin, Palestrina, Vittoria Friday Morning 1 Exercise Wrap- up w/ Q and A Morning 2 Conducting MacMillan: A child s prayer Lang: again Whitacre: A marriage

7 Afternoon 1 Continued conducting Lang, Whitacre, MacMillan Afternoon 2 Conclude conducting

2. Describe one highlight of your experience teaching music thus far. What made the experience significant?

2. Describe one highlight of your experience teaching music thus far. What made the experience significant? MMED638/PMED638 Introduction to Dalcroze, Summer 2018 Instructor Dawn Pratson dpratson@aol.com Pre-Assignment 1. View the following videos of Dalcroze classes with elementary students and reflect by answering