Graduate Assistant: Sandi Lewanika, Accompanist: TBA. Materials: Pencil and black folder for performances

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1 The University of Rhode Island Department of Music MUS 293/593 University Chorus (0-1 units) Syllabus: Fall 2015 Room: FAC Performance Hall Tuesday 7:00PM 9:45PM (There will be a 15 minute break.) Instructor/Director: Dr. Audrey Berger Cardany Office: D211 Office Phone: Music Department Office: Audrey.Cardany@uri.edu Office Hours: Friday 11AM-12:30PM or by appointment Graduate Assistant: Sandi Lewanika, slewanika@my.uri.edu Accompanist: TBA 1 General Course Description This course focuses on the study and performance of choral literature from a variety of cultural backgrounds and time s. Requirements include rehearsal attendance and participation in public and private performances. No prerequisite. Three semesters meet the General Education Arts requirement. Student outcomes include but are not limited to: Demonstrate knowledge of the selected repertoire and its cultural context through rehearsal and performances. Demonstrate musicianship through score marking and singing o With rhythmic and melodic accuracy o With precise diction o With good intonation individually, as well as within and across parts o With good blend within and across parts o Individual part within an ensemble using text as well as solfège, and rhythm syllables or counting o Moving musically while singing or moving to demonstrate understanding of a music element within the repertoire Perform music expressively to communicate the intent of composer and represent the genre and/or time of the music effectively. Evaluate expressive and musical choral performances. Demonstrate understanding of the role of the chorus in society and expectations of an individual chorus member in fulfilling that role. Sing with good vocal technique including low breath and singing on the breath, correct vowel formation, precise consonants, and resonance with open throat and lifted soft palate Materials: Pencil and black folder for performances Concert Attire: Men wear black dress slacks, black tuxedo or suit coat, black dress shoes, black socks, white dress shirt, and black bow tie. Women wear all black and may wear dress slacks and long sleeve blouses or wear skirts long or below the knee dark hose, black flat or low-heel shoes. All performers should avoid jewelry, cologne, and women please avoid casual black such as long sleeve Ts and/or black denim. Concert etiquette demands that each singer conform to the above dress code. Failure to do so may result in not being able to perform which would result in a failing grade. Repertoire: The repertoire (with an asterisk) will be available for purchase upon the second rehearsal. The price for the octavos includes shipping and handling and will be announced during the first class meeting. The fee is usually around or under $20. Please make checks out to URI Music Department. Deadline to pay for music is Tuesday, September 15 th.

2 2 Title Composer/Arranger Language Historical & Cultural Context *Venga Nel Nostro Coro Antonio Salieri (comp.) Jill Gallina (arr.) Italian Classical *Gaudete! David Hill (arr.) Latin 14 th Century carol * Good Ale from When Icicles Hang John Rutter (arr.) English English 15 th century carol *Hanerot Halau Neil Ginsberg (arr.) Hebrew w/ English Text Traditional Chanukah melody *Sim Shalom Stephen DeCesare Hebrew Traditional Jewish Blessing * Dona Nobis Pacem from Missa in C (Credo Mass), K. 257 Dona Nobis Pacem canon Wolfgang Amadeus Mozart Patrick Liebergen (arr. & ed.) Traditional Ecclesiastical melody Latin Latin In dulce jubilo Michael Praetorius Latin & German Classical Melody sometimes attributed to Mozart and Giovanni Pierluigi da Palestrina Renaissance Notes Four- part canon arranged for three voices SAB Arranged for London s Bach Choir for SATB & percussion Note the lack of time signature. Be able to explain why each measure may not have the same number of beats. Arranged for SATB and piano or orchestral accompaniment Note the mixed meter, and consider this arrangement with Hill s arrangement of Gaudete! Arranged for SATB, piano, and clarinet Consider why Ginsberg in this case included English text in the arrangement. Arranged for SATB, solo voice, piano, and violin Consider any musical similarities between the two pieces that include Hebrew text. The concluding portion of the Agnus Dei movement of the mass, and originally for soloists and chorus. A three- voice canon For eight voices or instruments in two choirs Attendance: Students are expected to attend all rehearsals and performances ON TIME. Because a performing ensemble is different from a typical academic course, we also abide by the following guidelines: 1) Each student will be permitted only one absence from rehearsal per semester without penalty. This absence is intended to be used for emergencies such as illness or family emergency such as death of an immediate family member. 2) Two tardy appearances will equal one absence. On time means in one s seat prior to rehearsal beginning. Walking in at 7PM is not an on time arrival! 3) Absence from a performance will result in a failing grade. This is non-negotiable. 4) Please alert the instructor in writing either hard-copy note or if you know you will be absent from a rehearsal. A phone message may also be left on the instructor s office number. Any questions about absences or issues should be addressed to the instructor in person. The graduate assistant cannot excuse an absence.

3 3 Written Requirements: Online quizzes: Students will complete two online quizzes: 1) Repertoire Quiz and 2) Chorus and Community Quiz. The first quiz will be available after the first week of classes, and second quiz will be available after the mid-term. Students have two opportunities to complete the quizzes with the highest grade entered into the grade book. Each quiz is 25 points. Instruction for these quizzes is found in music scores, text provided in the scores, verbal instruction from director/instructor during rehearsals and some readings provided in Resources on Sakai. Periodically singers will complete an ensemble and an individual performance rubric. Students will complete no less than one of each rubric per semester. The instructor will complete a rubric for each formal performance to assess the final group success in communicating through music and demonstrating knowledge and understanding of the performance art of music. Grades will be entered based on accuracy of completing the rubric rather than the total score achieved on the rubric. Please keep in mind that you cannot complete a rubric if you are not present for rehearsal. PERFORMANCE RUBRIC STUDENT NAME DATE TOTAL SCORE (Ensemble or Individual) /20 Categories Tone Quality (resonance & vowels) Intonation Blend/Balance Technique (rhythm & diction) Communication Excellent tone achieved. Focused, resonant, and uniform. Sound reflects clarity. Melodic and harmonic intonation is excellent. Minor flaws are quickly corrected. Controls pitch in variety of registers and dynamic ranges. Superior blend and balance achieved both within and between sections. Blend is uniform and consistent in extremes of register and dynamics. Rhythmic and diction technique is excellent. Superb control of pulse, tempo, and rhythmic patterns. Diction is clean and precise. Interpretation and musical effect is superb and achieved through stylistically valid phrasing, tempi, articulation, and dynamics. Interpretation of text is visible through posture and facial expression. Tone is usually focused w/ some minor inconsistencies. Vowels are good in moderate registers w/ inconsistencies in extreme registers. Intonation is consistent throughout performance w/ some problems occurring in range, dynamic extremes or difficult passages. Adjustments corrected with help. Good blend and balance within and between sections. Some problems occur during extreme register and dynamic sections. Rhythmic accuracy is precise most of the time. Good awareness of pulse and tempi w/ difficulty in complex passages. Diction may have some inconsistencies or lack clear onsets and releases. Communication is generally good throughout the performance. Expressive shaping and contouring of phrases evident w/ occasional lapses. Expression and stylistic accuracy is rarely mechanical w/ good dynamics. Posture and facial expressions mostly effective. Tone is often breathy, nasal, or strident. Vowels lack consistency. Inconsistent intonation w/ difficult intervals and harmonic structures showing major pitch weaknesses. Individual and sectional intonation problems are rarely corrected. Bend and balance achieved during simple passages only. Individuals and/or sections dominate ensemble sound w/ inconsistent listening and attentiveness. Basic rhythmic accuracy is demonstrated with inconsistent passages of pulse, tempi or rhythm patterns. Diction is difficult to comprehend in many passages. A meaningful and uniform interpretation is often lacking. Interpretation and musical effect is communicated more mechanically and correctly than a natural and meaningful expression. Tone is poor. No vowel consistency evident. Very weak intonation. Voices seldom match or adjust pitch to achieve consistent intonation. Poor blend and balance between and within sections throughout performance. Individual voice parts are often lost, too loud or too weak to be heard. Rhythmic accuracy is poor. Uniformity is lacking and diction is nearly unidentifiable throughout. Very little interpretation through dynamics or uniformity of phrasing. Expression is almost non- existent and overall the effect lacks an aesthetic appeal.

4 4 Students taking University Chorus for graduate credit are required to complete an additional comprehensive written assignment, due to the instructor during the week of URI finals. Papers should be no longer than three pages, double-spaced and using 12 font. Use appropriate writing mechanics including spelling and grammar. Choose from the following prompts: 1) What is the role of the individual singer in a choral setting and how do you fit into that role? 2) Select one or two repertoire pieces and write a paper discussing the historical context of that music and/or composer. Be sure to site any sources consulted. 3) Discuss how the music performed may be relevant to the lives of the audience and/or musicians. Consider the purpose of music making and music listening in these contemporary times as it relates to this particular ensemble. Other topics may be acceptable upon prior approval of the instructor. The last day to propose a different topic is at the midterm. Papers are due on the first day of scheduled finals for the institution. Evaluation and Grades: Undergraduate students will be graded on their performance during rehearsal and concert through attendance sign-in sheet (70%), and performance rubrics and online quizzes (30%). Graduate students will be graded on their performance during rehearsal and concert through attendance sign-in sheet (60%), performance rubrics and online quizzes (30%), and final written assignment (10%). Singers are expected to be attentive in rehearsal and carefully mark their scores under the conductor s guidance. Singers should avoid excessive talking or disruption to the rehearsal process. Students enrolled for credit who do not turn in a written assignment will not be able to earn higher than a B. Students who fail to attend a performance will receive a failing grade. Students who do not return music that belongs to the URI Music Department will have a hold placed on their grades until the matter is resolved. Please help the Music Department maintain its music library. Attendance: Attendance will be recorded and available for student review on Sakai. A point system will be used to provide a more meaningful understanding of each student s record of rehearsal attendance. On-time mindful attendance of entire rehearsal = 10 points. Arriving late, leaving early, and online activities during rehearsal result in a 2-point deduction each. Absences will be recorded as 0. Absences will affect your grades as follows: 0 to 1 absence = points (A), 2 = points (B), 3 = points (C), 4 = points (D), 5 or more = 89-0 points (F). All absences count toward this total, regardless of the reason. With permission, students may have the option to submit a recording of 30 minutes of their individual singing practice of selected pieces of the repertoire as a make up for one missed rehearsal. Guidelines for this option are: 1) must have prior approval from the instructor, 2) must request permission to use this option in person, 3) must submit an audio or video file of singing practice for a total of 30 minutes in a format the instructor can view and hear, and 4) will not be granted for performances or dress rehearsals. This option is only available for extreme and compelling reasons for absence. Do not count on or abuse this option! There are only 13 rehearsals. Students who miss 4 or more rehearsals will not be permitted to perform in the concerts; this applies to community members as well as students. Concerts are in essence your exams for this course. More importantly, one cannot make-up time with an ensemble, therefore, missed rehearsals cannot be made up. Absence from a concert will result in a failing grade. Put the concert dates and times and call times in your calendar immediately! Practice Expectations: Each week, sections from the literature the instructor will assign repertoire for work and practice at home. It is essential that singer do their best to practice outside of class to make rehearsals run more smoothly and ensure that all singers learn the repertoire. Students are expected to work to the best of their ability on these sections and come to rehearsal with a basic knowledge of the music to be sung that evening. Sectional group work is encouraged, and may be facilitated by volunteers from each section upon invitation of the instructor. Also, sound files will be made available for some of the repertoire on Sakai.

5 Rehearsal Dates: September 15, 22, & 20 October 6, 13, 20, & 27 November 3, 10, 17, & 24 December 1 & 8 5 *Performance Dates & Times: Saturday, November 7 th Choral Collage o 6:45PM Call and 8PM Performance Saturday, December 12 th Holiday Concert with Orchestra o 6:45PM Call and 8PM Performance University Manual Policies Attendance Requirements: Course attendance policies are to be determined by the faculty member(s) responsible for teaching a course. Faculty should clearly inform students of these policies at the beginning of the semester. Notice that a course will require examinations at times other than regularly scheduled class times shall be given in the Schedule of Courses published by the Office of Enrollment Services (See ) Any deviation from announced attendance policy shall normally be a matter between the instructor(s) and the student(s). A student who will be or has been unable to fulfill an obligation should discuss with the instructor(s) the possibility of and the conditions for making up the missed work. Instructors shall make reasonable efforts to allow students to compensate for work missed due to serious verifiable reasons such as illness, participation in University sanctioned events, etc. (See ). ( ) Accommodations for Qualified Students with Disabilities: All programs, activities and facilities of the University, when viewed in their entirety, must be accessible to qualified students. The Disability Services for Students in the Office of Student Life is responsible for determining students' eligibility for physical accommodations and, in cooperation with the appropriate academic deans, department chairpersons and faculty members, the selection of reasonable alternative means to satisfy the academic requirements of courses and programs of study. Student requests for accommodations are made via the Director, Disability Services for Students to the University member responsible for the program or activity. Such requests shall be made by the student himself/herself, a parent, legal guardian or other representative. (For Policy on Accommodation of Qualified Students with Disabilities see Appendix G. For further information, a regularly updated document titled Policies and Procedures: Academic &Administrative Accommodations for Students with Disabilities is available through the Office of Student Life/Disability Services for Students.) ( ) The student with a disability shall be responsible for self-identification to the Disability Services for Students in the Office of Student Life, providing appropriate documentation of disability, requesting accommodation in a timely manner, and follow-through regarding accommodations requested. STANDARDS OF BEHAVIOR Students are responsible for being familiar with and adhering to the published "Community Standards of Behavior: University Policies and Regulations which can be accessed in the University Student Handbook. If you must come in late, please do not disrupt the class. Please turn off all cell phones, pagers, or any electronic devices. RELIGIOUS HOLIDAYS It is the policy of the University of Rhode Island to accord students, on an individual basis, the opportunity to observe their traditional religious holidays. Students desiring to observe a holiday of special importance must provide written notification to each instructor.