Course Syllabus. Course Description

Transcription

1 Course Syllabus Course title: Workshop: Music Practice III (Choral Ensemble) First Year Available: From Second Year Course Code: MUSC281 Subject Area: Music Style of Class: Workshop Number of Credits: 1 Term(s) Offered: Spring Prerequisites: None /Open to All levels Instructor: Aya Nishina Instructor's aya@ayanishina.org Course Description Through singing the works from medieval to modern, as well as from non-classical traditions the world over, the choral ensemble of this workshop will be exploring the expressive nature and potential of human voice. Open to all vocal levels, the ensemble will engage in weekly rehearsals paired with vocal and ear training to further individuals musical ability. Course Objectives At the end of this course, students will (i) become acquainted with cross-cultural and historical literature of vocal music; (ii) improve their vocal techniques, including body support, intonation, color, sight-singing, diction, interpretation and expression; (iii) strengthen her/his overall musicianship; (iv) obtain hands-on experiences of choral singing in rehearsal and performance sittings. Course Expectations Ensemble members are expected to attend the workshop regularly, punctually, and participate in each session with optimistic and cooperative mindset. Every workshop is a collaboration between each participants and instructor. Creating a positive, respectful and harmonious learning environment will contribute to overall fulfillment of the ensemble experience and musical achievement as a whole. Suggestions or feedbacks are welcomed after each practice session, however, they should always be thoughtfully, constructively, supportively spoken. After the concert program is announced in Week 5, it is expected that participants make their best efforts to practice and learn their parts by Week 7. Participants are be expected to keep all sheet music in music folders in good condition at all times. Attendance for the final concert and dress rehearsal is mandatory. Evaluation Criteria Regular attendance, punctuality, active/cooperative class participation, fulfilling assignments, and personal development, counts as 60% of the workshop grade. The preparatory effort towards the final concert (Out-of-class practice, sectional rehearsal, attendance, rehearsal cooperation, dress rehearsal) will constitute 20%. The participation of final concert will constitute 20%.

2 Final Concert The workshop will culminate in a concert open to the public. The program will be announced by instructor during Week 6 and 7 based on her understandings of ensemble s musical interest, vocal techniques, sight-singing and other musical ability. Required Textbook and Materials There are no required textbooks for this workshop. Sheet music and supplying media will be distributed or presented in class. However, owning a personal copy of Elementary training for musicians by Paul Hindemith (Schott AP61) is highly recommended. Course Schedule: *Each class begins with min warm-up and vocal + sight-singing exercise. **LA = Listening assignment [*Programs to be modified based on the pre-class survey] Week 1: First Union Introduction and Background Session I: Meet & Greet; Introduction to the Workshop Session II: Uniting our Voices for the First time The ensemble members will join their voices for the first time, singing musical examples from various musical languages (e.g.; classic cannons, folk, The Beatles, Paul Hindemith, Tune Yards, Caroline Shaw/Roomful of Teeth) exploring their unique colors, as well as singing/reading/aural abilities. Breathing exercise, various vocal warm-up techniques will also be shared. Week 2: Medieval and Renaissance I: What did music look like in the Middle Ages? Who could read music? Session I: Sacred Music and Early Polyphony of Arts Antiqua -Leonin (1150s ) "first known" significant composer of Polyphonic organum -Perotin (c. 1200) Notre Dame School of Polyphony and Arts Antiqua Session II: Secular Songs - The Trouvères and the Troubadours LA: Chrétien de Troyes: D'Amors, qui m'a tolu a moi LA: Adam de la Halle: Se li maus c'amours envoie, Le Jeu de Robin et Marion (early liturgical polyphony / musical play) Session III: Rehearsal Singing: Viderunt Omnes by Perotin (or other composition from the era, suitable for the ability of the ensemble) Week 3: Medieval and Renaissance II Session I: Motet, Secular Songs, and the Ars Nova

3 LA: Works by Guillaume de Machaut, Guillaume Dufay, and Josquin des Prez Session II: Rehearsal -One composition by Machaut will be selected by instructor for a class reading session based on the sight reading skills and other vocal ability of the ensemble. AND/OR: - Nuper rosarum flore by Guillaume Dufay - Sicut cervus by Palestrina Week 4: The 1500's Session I: What is Franco Flemish School? Session II: Italy, France, and England in the 1500's Italy in the 1500 s: -The Italian Madrigals -Sacred Music LA: Works by Claudio Monteverdi, Carlo Gesualdo (c ), Giovanni Pierluigi da Palestrina ( ), Orlando di Lasso ( ) and Giovanni Battista Pergolesi ( ). France in the 1500 s: -Chanson LA: Works by Guillaume Dufay, and Josquin des Prez England in the 1500 s: -Eton Choirbook LA: Thomas Tallis ( ) : Spem in Alium - 40 part motet Session III: Rehearsal Singing: Laetentur Coeli or Ave Verum Corpus by William Byrd (c.1540 or ) + One piece by Week 3 Week 5: The Family Tree: From Early Music to the 21st Century Session I: Rehearsal Singing: 1-2 work(s) from Week 2-4 (*to be decided by instructor based on the vocal ability of the ensemble) *Example List: -Excerpts from Gregorian Chant -Sircut cervus by Palestrina -Ave Verum Corpus by Byrd Session II: 21st Century Compositions Inspired by Early Music -Summa by Arvo Part, Estonia (1935-) -Core Chant by Meredith Monk (Implying Vocal Technique), U.S.A. (1942-) Week 6: Folk Songs singing traditions from all nationalities

4 Session I: Class will explore various traditional folk songs from around the world: Some Examples: Sansa Kroma (West Africa) Mo Li Hua (China) "Onang Onang" (Indonesia) Šla Nanynka do zelí (Czech Republic) Ergen Daido (Bulgaria) Dans la forêt lointaine (Swedish/French) One Early Morning (England) Ach, du lieber Augustin (Austrian) Dennis Leary (Ireland) Stewball (USA) Kaimana Hila (Hawaii, USA) (Week 6) Session II: Japanese Folk Song Introduction to basic modes and rhythms used in Japanese folk song tradition; from Hokkaido to Okinawa. Session III: Q&A regarding practice repertoire (e.g.; difficulty reading the parts,) for the final performance. ATTN: At the end of week 6, the program for the final concert will be announced. Students will be provided copies of the scores (to be kept in a music folder), and they are assigned to practice/know their parts by Week 7: Concert Preparation 1 of 3. Sectional or group practice is encouraged. Week 7: Concert Preparatory Rehearsal (1 of 3) 1. Concert program (to be announced by Week 5) will consists of 4-6 pieces/excerpts reflecting variant compositional styles, era, nationality and genres. 2. The program should complement the musical ability of class based on instructor's evaluation. 3. The program should consist of two new pieces and three pieces which have been rehearsed during previous classes. Program Plan Example 2 pieces/short excerpts from Medieval and Renaissance Era 1 piece from standard choir repertoire 1 medley of folk songs 2 contemporary/modern or non-classical repertoire EXAMPLE PROGRAM:

5 Kyrie Vlll from Mass VIII, Gregorian Chant (Week 1) Ave Verum Corpus by William Byrd (Week 2) Ave Verum Corpus by W.A.Mozart (New) a medlay of three folk Songs (Week 6) Hide and Seek by Imogen Heap (New) ---- Other Reference for Standard Choir Repertoire: St John Passion - O grosse Lieb (chorale) by J.S. Bach Achieved is the Glorious Work Haydn Ave Verum Corpus by W.A.Mozart Alleluia by Randall Thompson Cantique de Jean Racine - Gabriel Faure Pavane, Op.50 (Choral Version) - Gabriel Faure Laetentur Coeli by William Byrd, etc. Other Reference for Non-Classical repertoire: Bonatology (Incantation) by Richard Bona Hide and Seek by Imogen Heap (New) Time After Time by Chet Baker I Believe I Can Fly by R. Kelly, etc. Week 8: Concert Preparatory Rehearsal (2 of 3) [Detail Rehearsal Planning TBA] Week 9: Concert Preparatory Rehearsal (3 of 3) [Detail Rehearsal Planning TBA] Week 10: Dress Rehearsal (Final Class) Week 11: Final Concert (Open to Public)