Dr. Stephen Bolster Jessica French, TA MUSIC 337: CONDUCTING COURSE SYLLABUS Fall, 2009 DESCRIPTION This is a course in basic conducting technique appropriate for conducting instrumental and/or vocal ensembles. Students will study and practice beat patterns, the preparatory beat, baton and hand techniques, left-hand functions, establishing left-hand independence, expressive gestures, articulation, phrasing, tempo, dynamics, releases, cueing, pulse changes, recitative conducting, asymmetrical meters, score reading, and score marking. Concurrent participation in the ensemble of the major applied instrument (MUS 131, 132, 135) is required for laboratory experience. GOALS/COMPETENCIES The beginning conductor will demonstrate: 1. Appropriate conducting technique with and without a baton. 2. Appropriate baton grip. 3. The standard beat patterns, maintaining a steady tempo. 4. The correct preparatory position for starting on all counts in all basic meters. 5. The correct preparatory beat for all counts in all basic meters, indicating appropriate tempo, dynamic level, and style of music being performed, with appropriate body language. 6. The preparatory beat and body language that indicates appropriate tempo, dynamic level, and style for fractional pickup notes and between-the-beat starts. 7. Proper wrist action to define the exact point of the beat. 8. Beat sub-divisions in simple and compound meters. 9. Various styles/characters of beating, including legato, staccato, marcato, and non-expressive beat styles. 10. The ability to conduct changing meters in slow and fast tempi. 11. The basic release gesture. 12. The release gesture on all counts of all basic meters. 1
13. Various types of release gestures in appropriate musical contexts. 14. Understanding of the correct relationship between beat size, dynamic level, and tempo. 15. The ability to choose an appropriate tempo, as indicated by the composer. 16. The fermata (1) with a release and caesura of appropriate length, and a subsequent preparatory beat in the appropriate style (long pause), (2) with the release gesture used as a preparatory beat (short pause), and (3) without a release, but with a preparatory gesture to signal resumption (no pause). 17. Cueing gestures with the left hand and the right hand, with eye contact and preparation for each. 18. Independent and effective use of the left hand to signal dynamics, subito changes, accents, phrasing, releases and cues. 19. The ability to conduct off-beat cues and accents, and syncopated passages. 20. Gradual and subito changes in tempo, including accelerando and ritardando. 21. The ability to conduct "dry" and accompanied recitatives, including the use of "dead gestures" and "time-marking beats." 22. The ability to conduct asymmetrical metrical patterns in slow and fast tempi. 23. The ability to analyze choral and instrumental scores, and to mark them for interpretation, rehearsal, and performance. TEP GOALS: This course (Music 337: Conducting) has a special responsibility to assist prospective teachers of music in meeting the goals for Berea College's Teacher Education Program and in preparing students to meet the Kentucky New Teacher standards. The specific focus of this class includes the following Teacher Education goals: 1. Teachers demonstrate their understanding of the centrality of inquiry in a learning community, the critical role of communication in inquiry, and the confidence that grows with the development of our ability to participate in a community of inquiry. Examples: mode of instruction in the class, which involves frequent peer evaluation and oral constructive criticism of student conductors; written self-evaluation by each student of their videotaped conducting throughout the course 2. Teachers demonstrate that they understand that authentic learning requires experience (direct and vicarious), inquiry, time, interest, self-correction, and external criticism. 2
TEXTS REQUIRED Examples: mode of instruction in the class, which involves frequent peer evaluation and oral constructive criticism of student conductors; written self-evaluation by each student of their videotaped conducting throughout the course; teacher s oral and written evaluation of all conducting activities 3.Teachers demonstrate understanding of and the ability to employ appropriate technological tools for developing students knowledge, understandings, skills, and dispositions. Examples: extensive use of videotaping and video analysis of as a tool for the teaching and learning of conducting technique 4.Teachers assume responsibility for their own professional development and for their own learning as a lifelong process. Example: all students in the class becoming members of the Berea College Student Chapter of CMENC. Labuta, Joseph A. Basic Conducting Techniques. 5th. ed. Upper Saddle River, N. J.: Pearson Prentice-Hall, 2004. McElheran, Brock. Conducting Technique for Beginners and Professionals. 3 rd ed. New York: Oxford UP, 2004. (Lab) (McEl) ON RESERVE (in Hutchins Lib.) Busch, Brian R. The Complete Choral Conductor: Gesture and Method. New York: Schirmer Books, 1984. (4 copies) (Busch) Demaree, Robert W. and Don V. Moses. The (Dem) Complete Conductor. Englewood Cliffs, N. J.: Prentice-Hall, 1995. (2 copies) Green, Elizabeth A. H. The Modern Conductor. 6th ed. Upper Saddle River, N. J.: Prentice-Hall, 1997. (3 copies) (Green) REQUIREMENTS 1. Daily readings on conducting technique 2. Daily practice on conducting exercises 3. Three unit tests 4. Final comprehensive exam 5. Ten graded conducting exercises, each videotaped 6. Ten written self-evaluations of #5 (one each) 7. Own or purchase conducting baton 3
7. Conducting of one piece of the student's choice from this semester's ensemble repertoire, videotaped ("free" conducting sessions) (You must provide a copy for each student in the class.) 8. Participation as a performer and as a conductor in several in-class conducting sessions of small ensembles from the class, and participation in oral evaluation and review of those performances using constructive criticism 9. Purchase of conducting baton EVALUATION The final grade will be determined as follows: Activity Unit Points 3 tests 100 each 100 300 final exam 200 200 "free" conducting 100 100 (in-class on Fridays, as indicated on schedule) *10 cond. exercises 15 each 150 10 video self-eval. 10 each 100 TOTAL 850 *=underlined in schedule Achievement in courses at Berea College is recorded by grades of A, A-, B+, B, B-, C+, C, C-, D+, D, D-, F, U, SC, P, CP and I. The definitions of letter grades adopted by the College Faculty in 2003 follow: A/A-: These grades signify consistently outstanding achievement in all aspects of the course. B+/B/B-: These grades reflect work of good to very good quality. Work at this level often has outstanding characteristics but is not as consistent throughout the term or in all aspects of the course as required of A or A- work. C+/C: These grades denote that the student has attained an acceptable level of competence. The student has demonstrated a basic understanding of the course material and abilities sufficient to proceed to more advanced courses in the area. C-/D+/D/D-: These grades indicate work that is minimally adequate. These grades raise serious concerns about the readiness of a student to continue in related coursework. F: This grade represents work that is unsatisfactory and unworthy of credit. Exact scores required for specific grades will be determined somewhat by the relative scores of those in the class. However, in general, a score of 90% or higher will be an A; 80-89%, a B; 70-79%, a C; 60-69%, a D; and below 60%, an F. 4
ATTENDANCE POLICY As potential teachers enrolled in a professional development class, students are expected to demonstrate professional behavior. Also, conducting is a participatory class, not a lecture class. Therefore, regular attendance is essential. A student is allowed a maximum of two unexcused absences during the semester; any further unexcused absence will result in a lowering of the final course grade at the rate of one letter grade per absence. Furthermore, any student who is absent, unexcused, from a test, exam, Friday conducting session or a class when prepared conducting exercises are performed will receive no credit for that day's work. Excused absences include: (1) legitimate illness, confirmed by the College Health Service or residence director (unless obvious), (2) an Off-Campus Permission Slip, approved in advance, and (3) death or serious illness of a friend or family member as confirmed by the Collegium Office. Absences from a test or exam must be excused in advance to be approved. SCHEDULE OF CLASSES AND ASSIGNMENTS UNIT 1: BEAT PATTERNS AND PREPARATORY BEAT Wed., Sept. 2 Introduction and Course Overview Fri., Sept. 3 The Conductor's Role/Beat Patterns (intro) Read Dem, Chapter 1, pp. 1-11 Read McEl, Ch. 1-3, pp. 3-12 Read Green, Ch. 1, pp. 1-7 Mon., Sept. 7 Beat Patterns (cont) Read McEl, Ch. 6-7, pp. 16-27 (1st half of Ch. 7) Read Busch, pp. 3-15 Read Decker, Ch. 1, pp. 6-10 (handout) Tues., Sept. 8* Beat Patterns (cont) in the college swimming pool! Review beat patterns Read Busch, Ch. 3, pp. 18-25 Read Lab, Introduction pp. 1-4; Ch. 2, pp.22-25 Wed., Sept. 9 Beat Patterns, Including Subdivision (cont) Read Green, Ch. 4, pp. 27-28 and Ch. 11, pp. 153-157 Read Lab, Ch. 5, pp. 36-38; practice conducting activities, pp. 37-38 Fri., Sept. 11 Use of Baton Preparatory Beat (intro) Read McEl, Ch. 4, pp. 13-14 Read Green, Ch. 3, pp. 21-26 and Ch. 2, pp.12-14 Read Busch, Ch. 2, pp. 15-17; practice exercises 2-2, 2-3 Prepare Lab, p.37, Conducting Activity 2 5
Mon., Sept. 14 Prep. Beat (cont) Character and Style Read Green, Ch. 5, pp. 43-51 Read Dem, pp. 35-37; practice ex. 3-8, p. 37. Read Lab, Ch. 3, pp. 28-32; practice Lab, Ch. 2, p. 126 ex. 2-11, 2-12 ; Ch. 3, pp. 136-137, ex. 3-8, 3-9, 3-10 Tues., Sept. 15 Prep. Beat Exercises with Cue Cards Read "Am I Being Followed? Connection between Conductor and Ensemble" by Thomas Lloyd (handout) Work on Green exercises, pp.48-49, #3,#4 Wed., Sept. 16 Changing Time Signatures Read McEl, Ch. 7, pp. 31-36 Prepare McEl examples, p. 32 Prepare Lab, p. 126, ex. 2-11 or p. 137, ex. 3-9 Fri., Sept. 18 Conducting Lab: work in pairs (Practice Labuta examples for test) Mon., Sept. 21 Changing Time Signatures (cont) Prepare Lullay, My Liking, Busch, p. 149 Lincolnshire Posy, p. 271, ex. 10-2 (assigned in class on Mon. Sept. 10) Tues., Sept. 22 CONDUCTING TEST #1: BEAT PATTERNS AND PREP. BEAT Music for test chosen from Labuta Chapters 1-5 Prepare Busch Changing Meter Exercises (handout) UNIT 2: LEFT-HAND FUNCTIONS Wed., Sept. 23 Left-Hand Independence Read McEl, Ch. 8, pp. 37-38 Practice Busch exercise (handout) Read Dem, Ch. 7, pp. 82-86; practice ex. 7-2--7-6, p. 86 (handout) Fri., Sept. 25 Dynamics and Accents Read McEl, Ch. 9, pp. 39-46; practice exercises pp. 40-41 Read Busch, Ch. 6, pp. 86-88; practice exercises pp. 88, 117 Mon., Sept. 28 Phrasing, Tempo, Character, Releases Read Busch, Ch. 9, pp. 114-118 and Ch. 4, pp. 30-35 Practice McEl exercises, p. 42 Practice McEl, p. 40, exercise A (both hands) Practice Busch exercises p. 117, 9-2, 9-3 (right hand only) 6
Tues., Sept. 29 Phrasing, Tempo, Character, Releases (cont) Prepare McEl, p. 40, exercise A (both hands) Prepare Busch exercises p. 117, 9-2, 9-3 (right hand only) Wed., Sept. 30 Score Reading: Clefs and Transposition Read Lab Appendix C, p. 282 Read Green, Ch. 12, pp. 172-182; Do ex.1 and 2 Labuta quarter-note ex. p. 60, figure 9-3 Fri., Oct. 2 Cues Read Dem, Ch. 7, p. 87; practice ex. 7-7--7-10 (handout 3/6) Read McEl, Ch. 10, pp. 46-50 Prepare McEl exercises, p. 42 Practice McEl assignment, pp. 44-45, a-f Mon., Tues., Oct. 5-6 No Class: Mid-term Reading Period Wed, Oct. 7 Conflicting Signals: Saying One Thing, Doing Another Left-hand Independence Exercises Catch-Up, if necessary Read McEl, Ch. 13, pp.57-64 Fri., Oct. 9 Phrasing and Dynamics Read Busch, Ch. 8, pp. 110-113 Mon, Oct. 12 Review Conducting Technique: Left Hand Functions Read Lab, Ch. 9, pp. 52-61; practice conducting activities, p. 60 Prepare Busch exercises, Ch. 5, p. 57, 5-2, and 5-3 (handout) Practice Haydn Agnus Dei, handout (left hand only, then together) Tues., Oct. 13 CONDUCTING TEST #2: LEFT-HAND FUNCTIONS Prepare McEl assignment, pp.44-45, a, b, e Prepare Agnus Dei, pp. 304-307, measure 2 Prepare Lab, pp. 192-193, ex. 9-1 Wed., Oct. 14 Fri., Oct. 16 No Class: Mountain Day No Class: KY-NATS Auditions (WKU) Mon., Oct. 19 Score Marking Read Busch, Ch. 5, pp. 53-58 Read Lab, Ch. 12, pp. 74-97 7
Tues, Oct. 20 Error Detection #1 UNIT 3: CUES, ARTICULATION, SYNCOPATION, AND PULSE CHANGES Wed., Oct. 21 Off-beat Cues, Accents, Syncopation Read McEl, Ch. 11, pp. 50-53; practice exercises pp. 51-54 Read Green, Ch. 5, pp. 52-67, "The Gesture of Syncopation" Fri., Oct. 23 Free Conducting #1 (bring music to class) Mon, Oct. 26 Starts and Stops When to Use What Pattern Read McEl, Ch. 14, pp. 64-75; practice exercises pp. 73-74 Read Lab, Ch. 4, pp. 33-35 Tues., Oct. 27 Off-beat Cues, Accents, Syncopation Gesture of Syncopation Prepare and conduct flute duets: Konzert II (V), Konzert III (VI) or II (we will perform with piano) Wed., Oct. 28 More Stops Determining Tempo Read Busch, Ch. 11, pp. 150-151 and Ch. 17, pp. 220-227 Prepare McEl exercises, pp. 73-74 Fri., Oct. 30 Free Conducting #2 (bring music to class) Read Lab, Ch. 13, pp. 98-105, The Instrumental Rehearsal Mon, Nov. 2 Accelerando, Ritardando, and Fermati (intro) Read McEl, Ch. 15, pp. 76-82 and Ch. 17, pp. 85-90 Practice McEl Assignment #1, p.79 and Assignment #1, p. 90 Read Lab, Ch. 7, pp. 42-49; practice p. 48, figure 7-5 Tues, Nov. 3 Accelerando, Ritardando, and Fermati (cont) Prepare McEl Assignment #1, p.79 and Assignment #1, p. 90 Wed, Nov. 4 Error Detection #2 or Conducting Film Fri., Nov. 6 Free Conducting #3 Read Lab, Ch. 14, pp. 106-111, The Choral Rehearsal Mon, Nov. 9 Conducting Lab on Accelerado, Ritardando, and Fermati (work in pairs) Practice Lab, p. 175, ex. 7-4; p. 185, ex. 7-15; p. 235, ex. 11-1, and p. 237, ex. 11-3 8
Tues, Nov. 10 Off-beat Starts, Dynamics, and GoS Conducting Review for Test #3 Prepare and conduct Handel Sonata Nr. 5: Allegro from Voxman Duets (we will perform with piano) Wed., Nov. 11 Review Conducting Technique: Cues, Articulation, Syncopation, and Pulse Changes Read McEl, Ch. 21, pp. 103-109 Read Busch, Ch. 7, pp. 104-107 Fri., Nov. 13 Free Conducting #4 Mon., Nov. 16 CONDUCTING TEST #3: OFF-BEAT CUES, ACCENTS, SYNCOPATION, STARTS, STOPS, ACCELERANDO, RITARDANDO, AND FERMATI Prepare McEl and Lab exercises (will announce) UNIT 4: RECITATIVES AND UNEVEN BEATS Tues., Nov. 17 Recitatives Read McEl, Ch. 22, pp. 109-112 Read Green, Ch. 14, pp. 223-225 Practice Lab, pp. 244-246, ex. 11-9, 11-10, and 11-11 Wed., Nov. 18 Recitatives (cont) Fri., Nov. 20 Free Conducting #5 Mon, Nov. 23 Tues, Nov. 24 Wed., Nov. 25 Fri., Nov. 27 Conducting Lab: Recitatives Error Detection No Class: Thanksgiving Break Mon., Nov.30 Recitatives (assigned by teams, in class) Prepare assigned recitative Tues., Dec. 1 Changing Beat Units/Asymmetrical Meters (intro) Read McEl, Ch. 23, pp. 113-119 Read Lab, Ch. 10, pp. 62-66; practice pp. 216-219, ex.10-7--10-11 Wed., Dec. 2 Changing Beat Units (cont) Prepare Lab, Ch. 10, pp. 216-219, ex.10-7--10-11 9
Fri., Dec. 4 Free Conducting #6 Read McEl, Ch. 24-26, pp. 120-127 Mon., Dec. 7 Free Conducting #7 Tues., Dec. 8 Wed., Dec. 9 Review of Conducting Technique Preparation for Final Exam (materials to be handed out) Conducting Christmas Carols (for those not conducting in Music Department Christmas Concert) FINAL EXAM: Mon, Dec. 14, 3:00 p.m. in Presser 213 10