ROSE BRUFORD COLLEGE OF THEATRE & PERFORMANCE Module Specification

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1 1. GENERAL INFORMATION Title Module code Credit rating 20 Level 4 Indicative Contact hours Pre-requisite modules Co-requisite modules School responsible Member of staff responsible ECT* 10 Opera at Work OS401 See learning hours none none Notional hours of Learning** 200 School of Performance Dr F Jane Schopf 2. AIMS The module aims to: introduce you to the historic, economic and cultural contexts of opera performance today contextualise the finished productions in relation to the policies and internal organisation of the opera companies assist you in examining the relationship between opera companies and their audiences/communities develop your abilities in using and evaluating a variety of research material 3. BRIEF DESCRIPTION OF THE MODULE This module discusses the role of opera in society. The various aspects of production are explored explaining how collaborations work and the different roles required together with the economics of the art form in terms of fund raising and management. The broader aspects of community opera and the role of the media conclude the module. * ECT (European Credit Transfer and Accumulation System): There are 2 UK credits for every 1 ECT credit, in accordance with the Credit Framework (QAA). Therefore if a module is worth 20 UK credits, this will equate to 10 ECT. ** Notional hours of learning: The number of hours which it is expected that a learner (at a particular level) will spend, on average, to achieve the specified learning outcomes at that level. It is expected that there will be 10 hours of notional study associated with every 1 credit achieved. Therefore if a module is worth 20 credits, this will equate to 200 notional study hours, in accordance with the Credit Framework (QAA).

2 4. INTENDED LEARNING OUTCOMES Category of outcome Knowledge and understanding Intellectual skills Practical skills Transferable skills and personal qualities You will be able to: identify financial, political and operational contexts in which operas are produced and how they impact on the artistic decision-making process. acquire an informed awareness of the working contexts and organisation of historical and contemporary opera production identify and practise primary study skills and scholarly research methods identify specific models of theory and analysis appropriate for the study of opera identify financial streams and their impact on opera production undertake detailed comparative analyses of operas and approaches to opera practice start to practice scholarly modes of presentation and approaches to referencing and bibliography present a structured argument in written assignments start to identify the theoretical assumptions informing their own work and the writings/practices of others formulate a comprehensive response to a designated assignment 5. LEARNING AND TEACHING PROCESSES (INCLUDING THE USE OF E-LEARNING) The module will be taught by distributed written teaching material containing graded exercises with full responses as well as interactive exercises. A specialist tutor will be available for regular student support online and via ASSESSMENT (INCLUDING THE USE OF E-LEARNING) Assessment task Length Weighting within module (if relevant) Written assignment /- 10% 40% Written assignment /- 10% 60% 2

3 7. FURTHER INFORMATION Semester 1 or 2 Available on which programme(s)? Available as Free Choice (UG) or to other programmes (PG)? Content Opera Studies No Weeks 1 and 2 Discussion of the role of opera and its present position within society in the UK, Europe and America. The principles of production and a discussion of the various roles within a company. Weeks 3 and 4 A discussion of the roles of the director and the the concept of director s opera. Weeks 5 and 6 Fundraising and the economics of opera: revenue streams and methods of increasing revenue Weeks 7 and 8 Company management: mission statements, marketing strategies Weeks 9 and 10 The work and role of education departments Weeks 11 and 12 Community opera Weeks 13 and 14 The influence and role of the media Weeks 15 and 16 The role of the critic Feedback Written responses are given for the graded exercises within the module material. Full comments are given on submitted written work with suggestions for future improvement. 3

4 Indicative Reading Abraham, Gerald. The Concise Oxford History of Music Oxford: OUP, 1991 Berman, Annarosa. The Company We Keep Sydney, Currency Press, 2006 Christiansen, Rupert. Prima Donna A History. London. Pimlico. Revised Edition Citron, Marcia. Opera on Screen Yale: University Press, 2000 Gilbert, Susie, & Shir, Jay. A Tale of Four Houses London: Harper Collins, 2003 Higgins, John. Glyndebourne a Celebration London: Jonathan Cape, 1984 Holden, Raymond. The Virtuoso Conductors Yale: University Press, 2005 Kolb, Bonita. Marketing for Cultural Organisations Thompson Learning, 2005 Lebrecht, Norman. Covent Garden, the untold story Boston: Northern University Press, 2000 Lebrecht, Norman. The Maestro Myth: Great Conductors in Pursuit of Power London: Pocket Books, Maretzek, Max. Revelations of an Opera Manager in 19th Century America. New York: Dover Publications Inc., Pleasants, Henry. Opera in Crisis London:Thames and Hudson, 1989 Snowman, Daniel. The Gilded Stage London: Atlantic Books, 2009 Sutcliffe, Tom. Believing in Opera. London: Faber, 1996 Tambling, Jeremy. Opera, Ideology and Film Manchester: University Press, 1987 Waugh, Alexander. Opera: A New Way of Listening. London: De Agostini Editions, 1996 Williams, Bernard. On Opera Yale: University Press, 2006 Proposed start date September 2012 Date of approval (for UoM office use) Information updated on Date of current version (for RBC use) Jan

5 1. GENERAL INFORMATION Title Module code Credit rating 20 Level 4 Indicative Contact hours Pre-requisite modules Co-requisite modules School responsible Member of staff responsible Mastering the Basics of Music OS402 n/a ECT* 10 none none Notional hours of Learning** 200 School of Performance Dr F Jane Schopf 2. AIMS The module aims to: Develop your understanding of musical notation and enable you to read and follow the vocal score of an opera develop your understanding of basic concepts such as keys, tonality, tonics and dominants and to apply them in the study of vocal scores Acquaint you with the rationale behind traditional western harmonic thought Enable you to distinguish between major and minor modes 3. BRIEF DESCRIPTION OF THE MODULE The module explores the nuts and bolts of musical notation, developing both aural and visual skills. Note names, clefs, scales, keys, rhythm, time signatures, tonic-dominant relationship, chords, cadences, modulations layout are all discussed and explored in relation to both opera and instrumental music. 4. INTENDED LEARNING OUTCOMES * ECT (European Credit Transfer and Accumulation System): There are 2 UK credits for every 1 ECT credit, in accordance with the Credit Framework (QAA). Therefore if a module is worth 20 UK credits, this will equate to 10 ECT. ** Notional hours of learning: The number of hours which it is expected that a learner (at a particular level) will spend, on average, to achieve the specified learning outcomes at that level. It is expected that there will be 10 hours of notional study associated with every 1 credit achieved. Therefore if a module is worth 20 credits, this will equate to 200 notional study hours, in accordance with the Credit Framework (QAA).

6 Category of outcome Knowledge and understanding Intellectual skills Practical skills Transferable skills and personal qualities You will be able to: explain basic musical concepts such as keys and tonality apply such concepts in the study of vocal and orchestral scores read simple lines of musical text identify and practise primary study skills and scholarly research methods identify specific models of theory and analysis appropriate for the study of opera, and begin to apply these in critical assessments utilise specialist skills in music analysis utilise specialist skills in score reading maintain scholarly modes of presentation and approaches to referencing and bibliography present a structured argument in written assignments undertake a range of formal assessments to a range of specified briefings (assignments) engage in critical self-assessment read and follow musical notation respond to the precise terms of a designated assignment develop and apply skills of analysis in research, critical writing performance and music 5. LEARNING AND TEACHING PROCESSES (INCLUDING THE USE OF E-LEARNING) You will receive written text via our E-learning platform. The material has staged exercises and tasks throughout, most being interactive. All exercises have full explanatory responses. 6. ASSESSMENT (INCLUDING THE USE OF E-LEARNING) Assessment task Length Weighting within module (if relevant) A multiple choice question A series of short essay answers 2000 words equivalent 3000 words +/- 10% 40% 60% 7. FURTHER INFORMATION Semester 1 or 2 Available on which programme(s)? Opera Studies 2

7 Available as Free Choice (UG) or to other programmes (PG)? Content Teaching Method VLE No Weeks 1 and 2 Melody Staves, clefs, note names, tones and semitones, C major & A natural minor scales, intervals. Pitch. Weeks 3 and 4 Scales and Keys Scales based on different notes (G, F, E, D), sharps, flats and naturals, key signatures. Weeks 5 and 6 Rhythm Note heads and durations, bar lines and simple time signatures, strong and weak beats. Compound time signatures and anacruses. Weeks 7 and 8 Triads Triads, arpeggios. Weeks 9 and 10 Cadences The importance of the dominant- tonic relationship, cadences. Weeks 11 and 12 Chords Chords and their layout, sevenths Weeks 13 and 14 Modulation Modulation to near and related keys. Weeks 15 and 16 Chromatic notes Further wider modulations and chromatic colouring. You will receive written text via our E-learning platform. The material has staged exercises and tasks throughout, many being interactive. All exercises have fully explanatory responses. Distributed written material with graded exercises and tasks, many interactive, and all with responses. You will also receive written Tutor feedback on submitted work, online tutorials and support. Wide use of online resources, interactive exercises with responses Chat rooms and online tutorials Feedback Given with the interactive exercises; via chat rooms and s and fully annotated written comments on submitted work. Indicative Reading Jones, G. T. Music Theory London: Harper Collins, 1974 Nickol, Peter. Learning to Read Music Oxford: How to Books, 2008 Richer, Margaret. Understanding Music Theory Oxford: Hodder Education, 2010 Small, Christopher. The Perfect Cadence and the Concert Hall, Chapter 1 of Music - Society - Education. John Calder, London, 1980 Schmeling, Paul. Berklee Music Theory Book 1 Boston: Berklee Press, 2005 Straus, Joseph N. Elements of Music, 2nd ed. Upper Saddle River, NJ: Prentice Hall, 2008 Taylor, Eric. The AB Guide to Music Theory London: Associated Board, 1989 Zeitlin, Poldi. Understanding Music Theory London: Omnibus Press, 2001 Proposed start date September

8 Date of approval (for UoM office use) Information updated on Date of current version (for RBC use)

9 1. GENERAL INFORMATION Title Mastering the Basics of Analysis Part 1 Module code Credit rating 10 Level 4 Indicative Contact hours Pre-requisite modules Co-requisite modules School responsible Member of staff responsible ECT* 5 OS403 n/a OS402 none Notional hours of Learning** 100 School of Performance Dr F Jane Schopf 2. AIMS The module aims to: enable you to analyse operatic arias in terms of their musical features enable you to relate the musical score to the dramatic moment enhance your understanding of opera by recognising the structures and compositional tools composers use to set texts develop your analytical skills with regard to basic operatic structures 3. BRIEF DESCRIPTION OF THE MODULE The module will focus on operatic structures such as recitative, da capo aria, ritornello and explore their structures and functions within operas relating their use to the dramatic texts. The question of musical unity within a work will be discussed. Orchestral score layout will be studied together with the families of instruments. 4. INTENDED LEARNING OUTCOMES * ECT (European Credit Transfer and Accumulation System): There are 2 UK credits for every 1 ECT credit, in accordance with the Credit Framework (QAA). Therefore if a module is worth 20 UK credits, this will equate to 10 ECT. ** Notional hours of learning: The number of hours which it is expected that a learner (at a particular level) will spend, on average, to achieve the specified learning outcomes at that level. It is expected that there will be 10 hours of notional study associated with every 1 credit achieved. Therefore if a module is worth 20 credits, this will equate to 200 notional study hours, in accordance with the Credit Framework (QAA).

10 Category of outcome Knowledge and understanding Intellectual skills Practical skills Transferable skills and personal qualities You will be able to: Explain basic musical concepts such as keys and tonality and apply them in the study of vocal and orchestral scores Analyse arias in terms of their dramatic features relate specific musical sections to the dramatic moment identify and practise primary study skills and scholarly research methods identify specific models of theory and analysis appropriate for the study of opera, and begin to apply these in critical assessments utilise specialist skills in music analysis utilise specialist skills in score reading maintain scholarly modes of presentation and approaches to referencing and bibliography present a structured argument in written assignments maintain scholarly modes of presentation and approaches to referencing and bibliography present a structured argument in written assignments formulate a comprehensive response to a designated assignment 5. LEARNING AND TEACHING PROCESSES (INCLUDING THE USE OF E-LEARNING) You will receive written text via our E-learning platform. The material has staged exercises and tasks throughout, most being interactive. All exercises have full explanatory responses. 6. ASSESSMENT (INCLUDING THE USE OF E-LEARNING) Assessment task Length Weighting within module (if relevant) Written task Analysis of a short aria and recitative 1,000 words 2,000 words 40% 60% 7. FURTHER INFORMATION Semester 1 or 2 Available on which programme(s)? Opera Studies 2

11 Available as Free Choice (UG) or to other programmes (PG)? No Content Weeks 1 and 2 Operatic Forms - I Exporation of operatic structures such as recitative, arioso, aria shapes, ensembles, ground basses, overture/prelude relating musical shapes and features to dramatic intentions. Weeks 3 and 4 Operatic Forms - 2 Musical unity and ways to achieve it; e.g., long term tonal planning, reminiscence motifs, leitmotives. Weeks 5 and 6 The Orchestra The orchestra. Score layouts, what to look for and where to look in an orchestral score. Transposing instruments. The function of the orchestra in opera. The orchestra as protagonist or as commentary. Weeks 7 and 8 Analysis Analytical techniques such as harmonic analysis will be discussed and examples of how to integrate this within a written response will be given. Teaching Method VLE You will receive written text via our E-learning platform. The material has staged exercises and tasks throughout, many being interactive. All exercises have fully explanatory responses. You will also receive written Tutor feedback on submitted work, online tutorials and support. Wide use of online resources, interactive exercises with responses Chat rooms and online tutorials Feedback Indicative Reading Given with the interactive exercises; via chat rooms and s and fully annotated written comments on submitted work. Abbate, Carolyn and Parker, Roger (eds.). Introduction: On Analyzing Opera in Analyzing Opera, Verdi and Wagner. Berkeley: University of California Press, 1989 Cutter, B. Harmonic Analysis Cornell University, 2009 Morris, C. Reading Opera between the lines Cambridge: CUP, 2002 Noske, Frits. The Signifier and the Signified. Oxford, Clarendon Press, 1990 Piston, Walter Principles of Harmonic Analysis New York: Schirmer, 1983 Scher, S. P. Music an Text: critical enquiries Cambridge: CUP, 1992 Swain, J. P. Harmonic Rhythm Oxford: OUP, 2002 Proposed start date September 2012 Date of approval (for UoM office use) 3

12 Information updated on Date of current version (for RBC use) 1 July

13 1. GENERAL INFORMATION Title Mastering the Basics of Analysis Part 2 Module code Credit rating 10 Level 4 Indicative Contact hours Pre-requisite modules Co-requisite modules School responsible Member of staff responsible ECT* 5 OS404 n/a OS402, OS403 none Notional hours of Learning** 100 School of Performance Dr F Jane Schopf 2. AIMS The module aims to: further your ability to analyse operatic forms and structures in relation to the dramatic text expand your vocabulary of analytical methods give you tools to use these methods and techniques in your writing 3. BRIEF DESCRIPTION OF THE MODULE This module builds on OS403 by looking at sonata principle and its use within opera as well as a basic introduction to voice leading. More advanced examples will be used to help you deconstruct a work to find the connection between text and score. The breakdown of tonality as seen in Wagner s Tristan und Isolde and its meaning for western music will be discussed. * ECT (European Credit Transfer and Accumulation System): There are 2 UK credits for every 1 ECT credit, in accordance with the Credit Framework (QAA). Therefore if a module is worth 20 UK credits, this will equate to 10 ECT. ** Notional hours of learning: The number of hours which it is expected that a learner (at a particular level) will spend, on average, to achieve the specified learning outcomes at that level. It is expected that there will be 10 hours of notional study associated with every 1 credit achieved. Therefore if a module is worth 20 credits, this will equate to 200 notional study hours, in accordance with the Credit Framework (QAA).

14 4. INTENDED LEARNING OUTCOMES Category of outcome Knowledge and understanding Intellectual skills Practical skills Transferable skills and personal qualities You will be able to: explain basic musical concepts such as keys and tonality and apply them in the study of vocal and orchestral scores relate musical structures to the dramatic text identify and practise primary study skills and scholarly research methods identify specific models of theory and analysis appropriate for the study of opera, and begin to apply these in critical assessments utilise specialist skills in music analysis utilise specialist skills in score reading maintain scholarly modes of presentation and approaches to referencing and bibliography present a structured argument in written assignments read and follow musical notation respond to the precise terms of a designated assignment develop and apply skills of analysis in research, critical writing performance and music formulate a comprehensive response to a designated assignment 5. LEARNING AND TEACHING PROCESSES (INCLUDING THE USE OF E-LEARNING) You will receive written text via our E-learning platform. The material has staged exercises and tasks throughout, most being interactive. All exercises have full explanatory responses. 6. ASSESSMENT (INCLUDING THE USE OF E-LEARNING) Assessment task Length Weighting within module (if relevant) Written An analysis using a technique of your choice 1,000 words Equivalent to 2,000 40% 60% 7. FURTHER INFORMATION Semester 1 or 2 Available on which programme(s)? Available as Free Choice (UG) or to other programmes (PG)? Opera Studies No 2

15 Content Weeks 1 and 2 Sonata principal - its features and tonal structure. Weeks 3 and 4 Sonata principle in Mozart s operas Weeks 5 and 6 A basic introduction to Schenkerian analysis Weeks 7 and 8 The innovation of Tristan and its meaning for Western music Teaching Method VLE Feedback Indicative Reading You will receive written text via our E-learning platform. The material has staged exercises and tasks throughout, many being interactive. All exercises have fully explanatory responses. You will also receive written Tutor feedback on submitted work, online tutorials and support. Wide use of online resources, interactive exercises with responses Chat rooms and online tutorials Given with the interactive exercises; via chat rooms and s and fully annotated written comments on submitted work. Aldwell, E. and Schater, C. Harmony and Voice Leading New York: Schirmer, 2011 Benjamin, T. E., Michael E. Horvit, M. E. and Robert Nelson, R. Music for Analysis: Examples from the Common Practice Period and the Twentieth Century Oxford: OUP, 2001 Cadwallader, A. Gagné, D. Analysis of tonal music: a Schenkerian approach Oxford: OUP, 1998 Tobin, J. R. Mozart and the Sonata Form London: Da Capo Press, 1978 Proposed start date September 2012 Date of approval (for UoM office use) Information updated on Date of current version (for RBC use) July

16 1. GENERAL INFORMATION Title Module code Credit rating 20 Level 4 Indicative Contact hours Pre-requisite modules Co-requisite modules School responsible Member of staff responsible Opera in Context OS405 n/a ECT* 10 none none Notional hours of Learning** 200 School of Performance Dr F Jane Schopf 2. AIMS The module aims to: enable you to engage with some of the basic aims, accomplishments and problems of opera, as both a musical and staged dramatic form develop your abilities to situate and analyse operas in their historical and cultural contexts develop your abilities to analyse dramatic form enable you to identify the relationships between music, drama, staging and theatre space, social structure and cultural context. 3. BRIEF DESCRIPTION OF THE MODULE The module seeks to place the study of opera in historical and cultural contexts. The historical scope of the module is from the beginnings of opera to the present day, with a particular focus on the periods of three crucial operatic innovators: Monteverdi, Gluck and Wagner. * ECT (European Credit Transfer and Accumulation System): There are 2 UK credits for every 1 ECT credit, in accordance with the Credit Framework (QAA). Therefore if a module is worth 20 UK credits, this will equate to 10 ECT. ** Notional hours of learning: The number of hours which it is expected that a learner (at a particular level) will spend, on average, to achieve the specified learning outcomes at that level. It is expected that there will be 10 hours of notional study associated with every 1 credit achieved. Therefore if a module is worth 20 credits, this will equate to 200 notional study hours, in accordance with the Credit Framework (QAA).

17 4. INTENDED LEARNING OUTCOMES Category of outcome Knowledge and understanding Intellectual skills Practical skills Transferable skills and personal qualities You will be able to: begin to situate operas within their historical, social and political contexts identify financial, political and operational contexts in which operas are produced and how they impact on the artistic decision-making process place opera composers, librettists and practitioners in historical and relative contexts evaluate judgements of taste and value in a range of critical domains evaluate and discuss significant developments in opera acquire an informed awareness of the working contexts and organisation of historical and contemporary opera production identify and practise primary study skills and scholarly research methods identify and apply analytical approaches appropriate for systematic historical and contextual inquiry undertake detailed comparative analyses of operas and approaches to opera practice utilise specialised skills in comparative opera analysis utilise specialist skills in music analysis utilise specialist skills in score reading maintain scholarly modes of presentation and approaches to referencing and bibliography present a structured argument in written assignments respond to the precise terms of a designated assignment locate and discuss primary material within historical and theoretical frameworks formulate a comprehensive response to a designated assignment 5. LEARNING AND TEACHING PROCESSES (INCLUDING THE USE OF E-LEARNING) 2

18 You will receive written text via our E-learning platform. The material has staged exercises and tasks throughout, many being interactive. All exercises have full explanatory responses. 6. ASSESSMENT (INCLUDING THE USE OF E-LEARNING) Assessment task Length Weighting within module (if relevant) Formative, multi-part 2000 (+/- 10%) 40% Summative (essay based) 3000 (+/- 10%) 60% 7. FURTHER INFORMATION Semester 1 or 2 Available on which programme(s)? Available as Free Choice (UG) or to other programmes (PG)? Content Opera Studies No Weeks 1 and 2 Towards a definition of opera. Librettist-composer collaboration; role of the singer. Weeks 3 and 4 Antecedents of opera; the first operas; the spread of the new style. Weeks 5 and 6 Handel in London and Gluck s reforms Weeks 7 and 8 Mozart and the relationship between text, music and drama Weeks 9 and 10 Rossini, Bellini, Donizetti, Meyerbeer and Grand Opera Weeks 11 and 12 Beethoven, Marschner, introducing Wagner and Verdi Weeks 13 and 14 Verdi Rigoletto Wagner Die Walküre Weeks 15 and 16 Modern and Post Modern opera and musical theatre genres 3

19 Teaching Method Distributed written material with graded exercises and tasks, many interactive, and all with responses. Specified texts Written Tutor feedback on submitted work, online tutorials and support VLE Wide use of online resources, interactive exercises with responses Chat rooms and online tutorials Feedback Indicative Reading Given via chat rooms and s and fully annotated written comments on submitted work Arblaster, Anthony. Viva la Libertà London: Verso, 2000 Barbier, P. Opera in Paris, Amadeus, 1995 Dahlhaus, C. Nineteenth-century Music University of California Press, 1989 Cooke, Mervyn. Twentieth-century Opera Cambridge: CUP, 2005 Millington, B. Wagner Dent, 1984 Petrobelli, P. Music in the theatre Princeton, 1994 Pistone, D. Nineteenth-century Italian Opera Amadeus, 1995 Plantigna, L. Romantic Music Norton, 1984 Plaut, E. A. Grand Opera Chicago: Dee, 1993 Radice, M. A. Opera in Context Amadeus, 1998 Rosselli, J. Music and Musicians in 19 th century Italy Batsford, 1991 Sternfeld, F. W. The birth of opera OUP, 1993 Treadwell, J. Interpreting Wagner Yale, 2003 Weiss, Piero Opera, a History in Documents Oxford: OUP, 2002 Proposed start date September 2012 Date of approval (for UoM office use) Information updated on Date of current version (for RBC use) Dec

20 1. GENERAL INFORMATION Title Module code Credit rating 20 Level 4 Indicative Contact hours Pre-requisite modules Co-requisite modules School responsible Member of staff responsible Ways of Talking about Opera OS406 n/a ECT* 10 none none Notional hours of Learning** AIMS The module aims to: School of Performance Dr F Jane Schopf encourage you to be able to question the status of a work of art enable you to examine how meaning can be read from performance offer you insights into modes of writing about theatre strengthen your awareness of models of theory appropriate for the study and understanding of opera and performance 3. BRIEF DESCRIPTION OF THE MODULE This module examines the question of how a work of art can be read, and how it can be written about. It also interrogates the concept of culture and why some operatic events or practitioners achieve enduring status. It poses fundamental questions about the nature of art, and moves on to apply these to opera. It considers the effect of the historical, political and ideological contexts upon a work of art. It also asks how works of art, particularly opera, convey meaning and how that meaning is interpreted by audiences. * ECT (European Credit Transfer and Accumulation System): There are 2 UK credits for every 1 ECT credit, in accordance with the Credit Framework (QAA). Therefore if a module is worth 20 UK credits, this will equate to 10 ECT. ** Notional hours of learning: The number of hours which it is expected that a learner (at a particular level) will spend, on average, to achieve the specified learning outcomes at that level. It is expected that there will be 10 hours of notional study associated with every 1 credit achieved. Therefore if a module is worth 20 credits, this will equate to 200 notional study hours, in accordance with the Credit Framework (QAA).

21 4. INTENDED LEARNING OUTCOMES Category of outcome Knowledge and understanding Intellectual skills Practical skills Transferable skills and personal qualities You will be able to: identify financial, political and operational contexts in which operas are produced and how they impact on the artistic decision-making process. Evaluate judgements of taste and value in a range of critical domains acquire an informed awareness of the working contexts and organisation of historical and contemporary opera production read meaning from performance identify and practise primary study skills and scholarly research methods identify specific models of theory and analysis appropriate for the study of opera, and begin to apply these in critical assessments undertake detailed comparative analyses of operas and approaches to opera practice utilise specialised skills in comparative opera analysis maintain scholarly modes of presentation and approaches to referencing and bibliography present a structured argument in written assignments undertake a range of formal assessments to a range of specified briefings (assignments) engage in critical self-assessment respond to the precise terms of a designated assignment identify the theoretical assumptions informing their own work and the writings/practices of others formulate a comprehensive response to a designated assignment 5. LEARNING AND TEACHING PROCESSES (INCLUDING THE USE OF E-LEARNING) You will receive written text via our E-learning platform. The material has staged exercises and tasks throughout, many being interactive. All exercises have fully explanatory responses. 6. ASSESSMENT (INCLUDING THE USE OF E-LEARNING) 2

22 Assessment task Length Weighting within module (if relevant) Formative, multi-part 2000 (+/- 10%) 40% Summative (essay based) 3000 (+/- 10%) 60% 7. FURTHER INFORMATION Semester 1 or 2 Available on which programme(s)? Available as Free Choice (UG) or to other programmes (PG)? Content Opera Studies No Weeks 1-4 Abigail s Party The material guides you towards recognising some of the ways performances identify themselves through design, characterisation and acting style as well as investigating how different productions of the same piece can acquire radically different meanings through staging and contextual framing. Weeks 5-8 Eugene Onegin The material deals with theatrical naturalism with an examination of operatic verismo and the development of Romanticism. It will examine Graham Vick s production for Glyndebourne Festival Opera in 1994 and Petr Weigl s 1988 film, based on the Solti recording. Students will investigate opera as a coded form and examine ways space, setting and visual elements contribute to meaning-making. Weeks 9-12 Cosi fan Tutte By contrasting conventional and radical approaches to this opera, this material will further develop your ideas around feminist theory. We will study Nicholas Hytner s production for Glyndebourne Festival Opera in 2006, Jonathan Miller s 1997 production for the Royal Opera and Peter Sellars 1991 video of his longrunning production. Weeks Das Rheingold This material will look at two productions of the first Ring opera, and will further develop the idea of context as a key determinant in the creation of performance meaning. The material will use Otto Schenk s New York Metropolitan production, and the Bayreuth centenary production by Patrice Chéreau. Through the Chéreau production, we will introduce Marxist theory as a critical perspective. Teaching Method Distributed written material with graded exercises and tasks, many interactive, and all with responses. Specified texts Written Tutor feedback on submitted work, online tutorials and support 3

23 VLE Wide use of online resources, interactive exercises with responses Chat rooms and online tutorials Feedback Indicative Reading Given via chat rooms and s and fully annotated written comments on submitted work Badiou, Alain. Five lessons on Wagner Trans. Susan Spitzer, London and New York: Verso, 2010 Fortier, Mark. Theory / Theatre: An Introduction. London & New York: Routledge, Frost, Anthony & Yarrow, Ralph: Improvisation in Drama. Basingstoke, Palgrave Macmillan Pushkin, A. Eugene Onegin. Translated by Charles Johnston. London: Penguin Classics, Styan, J.L. Modern Drama in Theory and Practice Realism and Naturalism. Cambridge: CUP, Sutcliffe, Tom. Believing in Opera. London: Faber, Treadwell, James. Interpreting Wagner London and New York: Yale University Press, 2003 Proposed start date September 2012 Date of approval (for UoM office use) Information updated on Date of current version (for RBC use)

24 1. GENERAL INFORMATION Title Module code Credit rating 20 Level 4 Indicative Contact hours Pre-requisite modules Co-requisite modules School responsible Member of staff responsible The Singer OS407 n/a ECT* 10 none none Notional hours of Learning** 200 School of Performance Dr F Jane Schopf 2. AIMS The module aims to: further your understanding of the role of the singer in relation to the composition and production of opera enable you to consider the technical aspects of vocal production within an historical perspective increase your knowledge of singers and the possibilities of vocal and dramatic interpretation within the context of the history of operatic production develop your abilities to analyse the singer s position within society over the period of the last four hundred years, with reference to social, cultural and political events 3. BRIEF DESCRIPTION OF THE MODULE The module offers a socio-historical overview of the role of the singer, before moving on to consider topics such as vocal classification and its effect on operatic composition; basic vocal physiology and its relation to changing notions of vocal technique; the ways in which singers are trained and marketed and the way in which expectations of singers performance have evolved. The module concludes with some case studies of particularly influential singers. * ECT (European Credit Transfer and Accumulation System): There are 2 UK credits for every 1 ECT credit, in accordance with the Credit Framework (QAA). Therefore if a module is worth 20 UK credits, this will equate to 10 ECT. ** Notional hours of learning: The number of hours which it is expected that a learner (at a particular level) will spend, on average, to achieve the specified learning outcomes at that level. It is expected that there will be 10 hours of notional study associated with every 1 credit achieved. Therefore if a module is worth 20 credits, this will equate to 200 notional study hours, in accordance with the Credit Framework (QAA).

25 4. INTENDED LEARNING OUTCOMES Category of outcome Knowledge and understanding Intellectual skills Practical skills Transferable skills and personal qualities You will be able to: begin to situate operas within their historical, social and political contexts identify financial, political and operational contexts in which operas are produced and how they impact on the artistic decision-making process place opera composers, librettists and practitioners in historical and relative contexts evaluate judgements of taste and value in a range of critical domains explain and discuss significant developments in opera gain a detailed knowledge of the main artistic movements, traditions and ideologies that influence and inform opera in all periods of its history identify historical perspectives of vocal production identify and practise primary study skills and scholarly research methods identify and apply analytical approaches appropriate for systematic and in-depth historical and contextual inquiry analyse the singer s position within society undertake detailed comparative analyses of operas and approaches to opera practice utilise specialised skills in comparative opera analysis maintain scholarly modes of presentation and approaches to referencing and bibliography present a structured argument in written assignments undertake a range of formal assessments to a range of specified briefings (assignments) respond to the precise terms of a designated assignment identify the theoretical assumptions informing their own work and the writings/practices of others formulate a comprehensive response to a designated assignment 5. LEARNING AND TEACHING PROCESSES (INCLUDING THE USE OF E-LEARNING) 2

26 You will receive written text via our E-learning platform. The material has staged exercises and tasks throughout, many being interactive. All exercises have fully explanatory responses. 6. ASSESSMENT (INCLUDING THE USE OF E-LEARNING) Assessment task Length Weighting within module (if relevant) Formative, multi-part 2000 (+/- 10%) 40% Summative (essay based) 3000 (+/- 10%) 60% 7. FURTHER INFORMATION Semester 1 or 2 Available on which programme(s)? Available as Free Choice (UG) or to other programmes (PG)? Opera Studies No 3

27 Content Weeks 1 and 2 The Voice How the voice is made. Society s perception of the singer historical context. Weeks 3 and Opera designed for singers; the castrato as operatic superstar; definitions of bel canto; patronage and the singer as servant. Weeks 5 and 6 Reform and Revolution: The shift of power from singer to composer, and from patron to public spectator; the demise of the castrati; the development of opera singing as a profession and the beginnings of a new and lucrative operatic marketplace Weeks 7 and 8 Bel Canto and the Rise of the Prima Donna: The supremacy of the coloratura soprano on the operatic stage; the operatic travelling troupe at home and abroad; new approaches to the tenor voice; the final flourish of singer s opera. Weeks 9 and 10 Con Belto and the Emergence of the Helden Tenor: Science and singing - changing ideas of technique and the development of the big voice. The expansion of opera singing as a profession, the establishment of music conservatoires, and the influx of middle-class novice singers Weeks 11 and 12 New Singers for New Opera in a New Age: The influence of naturalism and other avant-garde theatrical practices on operatic performance conventions; the vocal and physical demands of the new opera on the singer; the emergence of the director. Weeks 13 and 14 Building the Future, Reviving the Past: The effects of technological advances (especially the jet-plane and the gramophone) on the singer s career; the paucity of new operatic repertoire; the revival of bel canto techniques and operas. Weeks 15 and 16 The Voices of Here and Now: New audiences, mass markets and crossing cultural divisions; the rise of designer/director s opera and its use of the singer; opera on, and as, film. Teaching Method Distributed written material with graded exercises and tasks, many interactive, and all with responses. Specified texts Written Tutor feedback on submitted work, online tutorials and support VLE Feedback Wide use of online resources, interactive exercises with responses Chat rooms and online tutorials Given via chat rooms and s and fully annotated written comments on submitted work 4

28 Indicative Reading Proposed start date Date of approval (for UoM office use) Information updated on Benedetti, Jean. Stanislavski: An Introduction London: Methuen, Bentley, Eric, ed. The Theory of the Modern Stage Harmondsworth: Penguin Books, [1968] Budden, Julian. Verdi and the World of the Primo Ottocento. The Operas of Verdi. Vol.I. Oxford: Clarendon Press, Budden, Julian. The Collapse of Tradition (Italian Opera ). The Operas Of Verdi, Vol.II. [Oxford: Clarendon, 1992 Carreras, José. Singing From the Soul: An Autobiography London: Souvenir Press, [1991] Dunn, L.C. and Jones, N. A. (eds) Embodies voices Cambridge: CUP, 1994 Edwards, G. & Edwards, R. The Verdi Baritone Indiana University Press, Grunberger, Richard. A Social History of the Third Reich London: Phoenix Press, 2005 Fitzlyon, April. Maria Malibran: Diva of the Romantic Age London: Souvenir Press, 1987 Roach, Joseph. A Player s Passion: Studies in the Science of Acting London & Toronto: Associated University Presses, 1985 Hahn, Reynaldo. On Singers and Singing trans. Leopold Simoneau. Oregon: Amadeus Press, Hines, Jerome. Great Singers on Great Singing New York: Limelight Editions, Holmes, William C. Opera Observed: Views of a Florentine Impresario Chicago, 1993 Hyde, Derek. New-Found Voices: Women in Nineteenth Century English Music Aldershot: Ashgate, 1998 Kerman, Joseph. Opera as Drama London: Faber & Faber, Lehmann, Lilli. How to Sing New York: Dover Publications, Matheopoulos, Helen. Diva: Great Sopranos and Mezzos Discuss Their Art Boston, MA: Northeastern University Press, 1992 Platoff, John. The buffa aria in Mozart s Vienna. Cambridge Opera Journal Vol. 2, no 2 (July 1990). Pleasants, Henry. The Great Singers Hemel Hempsted: Prentice Hall, Poriss, Hilary. Changing the Score Oxford: OUP, 2009 Rosselli, John. Singers of Italian Opera: The History of a Profession Cambridge: Cambridge University Press, 1995 Scott, Michael. The Record of Singing, Vols.I & II. London: Gerald Duckworth & Co., Thomson, Peter and Glendyr Sacks, ed. The Cambridge Companion to Brecht Cambridge: CUP, 2007 September 2012 Date of current version (for RBC use)

29 1. GENERAL INFORMATION Title Module code Credit rating 20 Level 4 Indicative Contact hours Pre-requisite modules Co-requisite modules School responsible Member of staff responsible ECT* 10 The Singer in Practice OS407A 48 (6 hours x 8 sessions) plus independent study None none Notional hours of Learning** 200 School of Performance Dr F Jane Schopf 2. AIMS The module aims to: further your understanding of the role of the singer in relation to the composition and production of opera enable you to study and practise the technical aspects of opera singing within an historical perspective increase your knowledge and practise as a performer within the context of the history of operatic production develop your abilities to analyse the singer s position within society over the period of the last four hundred years, with reference to social, cultural and political events enable you to develop your performance skills and guide you vocally and in terms of suitable repertoire 3. BRIEF DESCRIPTION OF THE MODULE The module offers The module offers singers the opportunity to work intensively on vocal technique in addition to studying the history behind the role of the singer, as well as historical context. It focuses on individual performances and includes vocal coaching, text work, movement, dramatic interpretation with established industry professionals through Associated Studios in London. The module includes a contextual essay and concludes with solo performances. * ECT (European Credit Transfer and Accumulation System): There are 2 UK credits for every 1 ECT credit, in accordance with the Credit Framework (QAA). Therefore if a module is worth 20 UK credits, this will equate to 10 ECT. ** Notional hours of learning: The number of hours which it is expected that a learner (at a particular level) will spend, on average, to achieve the specified learning outcomes at that level. It is expected that there will be 10 hours of notional study associated with every 1 credit achieved. Therefore if a module is worth 20 credits, this will equate to 200 notional study hours, in accordance with the Credit Framework (QAA).

30 4. INTENDED LEARNING OUTCOMES Category of outcome Knowledge and understanding Intellectual skills Practical skills Transferable skills and personal qualities You will be able to: begin to situate operas within their historical, social and political contexts identify financial, political and operational contexts in which operas are produced and how they impact on the artistic decision-making process place opera composers, librettists and practitioners in historical and relative contexts evaluate judgements of taste and value in a range of critical domains explain and discuss significant developments in opera gain a detailed knowledge of the main artistic movements, traditions and ideologies that influence and inform opera in all periods of its history identify historical perspectives of vocal production undertake detailed comparative analyses of operas and approaches to opera gain an understanding of the performer s craft, technique and discipline identify and practise primary study skills and scholarly research methods identify and apply analytical approaches appropriate for systematic and in-depth historical and contextual inquiry analyse the singer s position within society analyse vocal technique and the dramatic interpretation of text utilise specialised skills in movement, voice, singing, and text analysis undertake a performance of a classical song/aria maintain scholarly modes of presentation and approaches to referencing and bibliography present a structured argument in written assignments undertake a range of practical assessments to a range of specified briefings respond to the precise terms of a designated assignment identify the theoretical assumptions informing their own work and the writings/practices of others formulate a comprehensive response to a designated assignment respond to stimuli from a varied team of coaches 5. LEARNING AND TEACHING PROCESSES (INCLUDING THE USE OF E-LEARNING) You will receive blended learning through: Face to face tuition in vocal coaching, acting and movement Written text via our E-learning platform with staged exercises and tasks throughout, many being interactive, all with full explanatory responses. 2

31 6. ASSESSMENT (INCLUDING THE USE OF E-LEARNING) Assessment task Length Weighting within module (if relevant) 1 st assignment: contextual essay (RBC staff) equivalent 40% 60% 2 nd assignment: performance of a classical song or an aria, plus a reflective journal (Jointly RBC and Associated Studios staff) 7. FURTHER INFORMATION Semester 1 or 2 Available on which programme(s)? Available as Free Choice (UG) or to other programmes (PG)? Opera Studies Yes. Requirements: Applicants for ' The Singer in Practice' module should have some experience as singers. Applicants will be asked to present two contrasting classical songs or arias at audition. Applicants should demonstrate the ability to sing a variety of repertoire well, and to have the potential and ability to develop this further. 3

32 Content Practical component: Multiple sessions in the following will be given during the course of the eight biweekly classes, which will build in complexity as the weeks progress: Solo Performance Movement Acting Seminars with Industry Professional focusing on specific topics relating to the Singer's profession. Written component: Students will choose FOUR out of these eight two-weekly units: 1. Weeks 1 and 2 The Voice How the voice is made. Society s perception of the singer historical context. 2. Weeks 3 and Opera designed for singers; the castrato as operatic superstar; definitions of bel canto; patronage and the singer as servant. 3. Weeks 5 and 6 Reform and Revolution: The shift of power from singer to composer, and from patron to public spectator; the demise of the castrati; the development of opera singing as a profession and the beginnings of a new and lucrative operatic marketplace 4. Weeks 7 and 8 Bel Canto and the Rise of the Prima Donna: The supremacy of the coloratura soprano on the operatic stage; the operatic travelling troupe at home and abroad; new approaches to the tenor voice; the final flourish of singer s opera. 5. Weeks 9 and 10 Con Belto and the Emergence of the Helden Tenor: Science and singing - changing ideas of technique and the development of the big voice. The expansion of opera singing as a profession, the establishment of music conservatoires, and the influx of middle-class novice singers 6. Weeks 11 and 12 New Singers for New Opera in a New Age: The influence of naturalism and other avant-garde theatrical practices on operatic performance conventions; the vocal and physical demands of the new opera on the singer; the emergence of the director. 7. Weeks 13 and 14 Building the Future, Reviving the Past: The effects of technological advances (especially the jet-plane and the gramophone) on the singer s career; the paucity of new operatic repertoire; the revival of bel canto techniques and operas. 8. Weeks 15 and 16 The Voices of Here and Now: New audiences, mass markets and crossing cultural divisions; the rise of designer/director s opera and its use of the singer; opera on, and as, film. Teaching Method Blended learning: Practical component: delivered face to face over 4 months graduating in complexity as the weeks progress Written component: Distributed written material with graded exercises and tasks, many interactive, and all with responses. Specified texts 4

33 VLE Wide use of online resources, interactive exercises with responses Chat rooms and online tutorials Feedback Practical component: feedback will be given orally during and after each session. Written component: feedback will be given via chat rooms, online tutorials and s and fully annotated written comments on submitted work Indicative Reading Proposed start date Date of approval (for UoM office use) Information updated on January Date of current version (for RBC use)