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COURSE DESCRIPTION (C group) Course volume Course Course valid Course group in ECTS Course valid to Reg. No. code since credits DAI5034 C 6 ECTS 2015 03 26 Course type (compulsory or optional) Compulsory Course level (study cycle) Graduate (MA program) Semester the course is delivered 2 (of 4) Study form (face-to-face or distant) Face-to-face Course title in Lithuanian MUZIKINIŲ SPEKTAKLIŲ PRAKTIKA II Course title in English PERFORMANCE OF MUSICAL THEATRE GENRES II Short course annotation in Lithuanian Muzikinių spektaklių praktika – studijų krypties dalykas, skirtas operos dainininko gebėjimų ugdymui. Jo studijos trunka keturis semestrus, kurių metu plečiamos ir gilinamos žinios apie operos, operetės ar miuziklo žanro muziką, analizuojamas muzikinis tekstas, lavinami meniniai įgūdžiai, atliekamas įvairių muzikos stilių bei sceninių žanrų repertuaras. Studijų metu įgyjama sceninė patirtis, ugdoma menininko – kūrėjo asmenybė. Tai yra 2 lygis iš 4 Short course annotation in English Performance of musical theatre genres is a study subject, designed for the development of the abilities of an opera singer. The course takes up four semesters, during which opera, operetta and musical genre‘ knowledge is expanded and deepened, musical text is analyzed, artistic skills are developed, repertoire of various musical styles is formed and performed. During the studies, stage experience is gained, artistic personality is developed. This is level 2 of 4. Prerequisites for entering the course The student must pass Performance of musical theatre genres I course and pass its exam Aim of the course The aim of the course is to perform opera’ vocal numbers, parts (aria, arioso, cavatina, rondo, monologue, recitative and so on), analyze stage circumstances, stage atmosphere, stage act, interpret characters in musical and stage aspects. Links between study program outcomes, course outcomes and criteria of learning achievement evaluation Criteria of learning achievement Study program outcomes Course outcomes evaluation 1. To recognize, analyze 1. To analyze classicistic era’ 1. Well analyzed classicistic era’ and compare elements of composers’ (Haydn, Mozart, Gluck composers’ (Haydn, Mozart, Gluck musical language of and others) opera’ stage and others) opera’ stage various periods and genres circumstances, stage atmosphere, circumstances, stage atmosphere, stage act. stage act. 2. To perform works from 2. To interpret (based on the laws of 2. Correctly interpreted (based on various stylistic periods, musical dramaturgy) classicistic era the laws of musical dramaturgy) various genres and forms, composers’ (Haydn, Mozart, Gluck) classicistic era composers’ (Haydn, by highlighting one’s own opera’ characters in musical and Mozart, Gluck) opera’ characters in and composer’s artistic stage aspects, while working with a musical and stage aspects, while individuality conductor, director and working with a conductor, director concertmaster. and concertmaster. 3. To perform (and act) classical era 3.Performed (and acted) classical composers’ (Haydn, Mozart, Gluck) era composers’ (Haydn, Mozart, opera characters’ roles solo and with Gluck) opera characters’ roles solo stage partners while working with a and with stage partners while conductor, director and working with a conductor, director concertmaster. and concertmaster. Link between course outcomes and content Course outcomes Content (topics) 1. To analyze classicistic 1. Analysis of classical era composers’ (Haydn, Mozart, Gluck and era’ composers’ (Haydn, others) stage circumstances, stage atmosphere, stage act. Mozart, Gluck and others) 2. Analysis of classical era composers’ (Haydn, Mozart, Gluck and opera’ stage circumstances, others) stage piece’ vocal parts, musical dramaturgy, stage characters. stage atmosphere, stage act. 3. Analysis of classical era composers’ (Haydn, Mozart, Gluck and others) stage piece’ vocal parts and orchestra pattern interaction. 4. Analysis of classical era composers’ (Haydn, Mozart, Gluck and others) stage piece’ vocal number’ musical form (aria, arioso, cavatina, rondo, monologue, recitative and so on). 2. To interpret (based on 5. Development of logics of a character interpretation improvisation, the laws of musical based on the vocal part’ musical form’ (aria, arioso, cavatina, rondo, dramaturgy) classicistic era monologue, recitative) variety. composers’ (Haydn, 6. Interpretational discoveries of the psychophysical characteristics of a Mozart, Gluck) opera’ character, based on the vocal part’ musical (aria, arioso, cavatina, rondo, characters in musical and monologue, recitative) variety. stage aspects, while 7. Interpretation improvisations of the action logics of the character, working with a conductor, based on the laws of vocal part’ musical dramaturgy. director and concertmaster. 8. Interpretational discoveries of the psychophysical characteristics of a character, based on the laws of vocal part’ musical dramaturgy. 9. Interpretational discoveries of the development of the action logics of a character, based on the laws of interaction of vocal parts and orchestral patterns. 10. Interpretational discoveries of the psy chophysical features of the characters, based on the laws of interaction of vocal parts and orchestral patterns. 3. To perform (and act) 11. Classical era composers’ (Haydn, Mozart, Gluck and others) stage classical era composers’ piece’ character’s psychophysical characteristics and stage existence (Haydn, Mozart, Gluck) motivation, based on laws of vocal part’ musical dramaturgy, while opera characters’ roles solo performing separate scenes from the play. and with stage partners 12. Classical era composers’ (Haydn, Mozart, Gluck and others) stage while working with a piece’ separate numbers’ (arias, recitatives, duets and so on) practical conductor, director and joining into a integral stage act, while performing separate scenes of the concertmaster. play. 13. Classical era composers’ (Haydn, Mozart, Gluck and others) stage piece’ character’s psychophysical characteristics and stage existential motivation, based on the laws of musical dramaturgy of the entire piece, while performing separate scenes from the play. 14. Classical era composers’ (Haydn, Mozart, Gluck and others) stage piece’ separate musical number’ (arias, recitatives, duets, ensembles and so on) practical combination into one stage act, motivated by the laws of musical dramaturgy, while performing the whole play. 15. Classical era composers’ (Haydn, Mozart, Gluck and others) stage piece’ character’s psychophysical characteristics and stage existence motivations, based on the laws of musical dramaturgy, while performing the entire play. Study (teaching and learning) methods Musical text and libretto analysis Musical text performance and interpretation Demonstration Modeling Improvisation and creative experiments Individual and group tasks Discussion Literature study Methods of learning achievement assessment Verbal musical text and libretto analysis, analysis of musical text performance, interpretation and demonstration, modeling, interpretational task’ performance. Distribution of workload for students (contact and independent work hours) Lectures (L) Individual lectures (L) 18 hours Seminars (S) Group work Laboratory work (L) Practical work Individual work 132 hours Total 150 hours Structure of cumulative score and value of its constituent parts I Mid-term – to perform a role in fragments of one-act operas, while working with a conductor, director and concertmaster – 40 % Exam – to perform the main and two supportive roles in a musical play (or separate scenes of separate plays), while working with a conductor, director and concertmaster – 60 % Recommended literature Number of copies No. Year of Publishing Authors and title University Self-study Other publishing house library rooms libraries Basic literature Rossini G. Ленинград: 2 1 + 1. 1982 Opera „Vedybų Музыка vekselis“ Mozart W.A. 1 2 + Leipzig: 2. 2002 Opera „Visos jos tokios Edition Peters “ Gluck Ch.W. 1 4 + Leipzig: 3. 1987 Opera „Girtuoklio Edition Peters išblaivinimas“ Supplementary literature 1. Libretai Course program designed by Prof. Julius Geniušas, doc. Nerijus Petrokas .
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