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Course Outline MUSICIANSHIP - Course Outline General information about the approach Audiation - the ability to think in sound - is at the core of musicianship training. Musical elements and concepts are sequentially introduced, from the simple to the complex, and are practiced in ways that actively develop understandings in pitch, tonality, rhythm and harmony. These understandings are reinforced through engagement in a variety of modes of learning: aural (critical listening, the linking of sound to syllable using tonic solfa, absolute pitch names and rhythm duration syllables), kinaesthetic (use of the Curwen hand sign system, conducting patterns and other physical indications for beat, rhythm, phrase), and visual (linking sound to a variety of notational systems). Thorough musicianship practise involves using musical elements and concepts in known contexts (such as in performing, part work and memorisation), and unknown contexts (such as in sight reading, dictation, improvisation and composition). True musicianship is achieved not only when known elements can be successfully reproduced in these many contexts, but when they are applied with sensitivity to genre and culture, and then imbued with appropriate personal expression. Artistic training must equally involve active engagement and reflection. This is the key to developing the musical imagination in both intellectual and emotional realms. Overview: Musicianship involves the study of sight singing, score reading, aural perception, musical dictation and analysis using the tools of the Kodály philosophy (tonic solfa, rhythm duration syllables and hand signs). This class will study core repertoire as decided by the course lecturer. All participants will complete a 1.5hr class of Musicianship each day. These classes provide intensive skill development in aural musicianship as well as theoretical components of music. It is important that you select a level appropriate to your current music experience and background. Class Placement: For the Christchurch 2017 course, students will be placed in 1 of 2 classes. • A beginner/mixed ability class (Levels 1-3) • An intermediate class (Level 4) Tips for selecting the appropriate musicianship class level: • You are passionate and interested in music, love to sing but have had no opportunities for formal training in aural skills and/or music theory. Please select Musicianship Level 1. • You are passionate and interested in music, love to sing but have had limited opportunities for formal training in aural skills and/or music theory. Select Musicianship Level 2. • You are confident to sing and have some understanding of music theory. Select Musicianship Level 3. • You have successfully completed (or soon will be completing) an undergraduate degree/qualification in music/music education (such as a B.Mus.Ed, B.Mus or equivalent) and you may or may not have had prior experience with solfa/moveable do. Select Musicianship Level 4. Time Commitment: In addition to the daily classes (total 15 hours over the 2 weeks), students will need to put aside time to practise musicianship skills. The time needed to do this will vary for each person but 30 minutes per day is recommended as a minimum. Materials: • A440 tuning fork, pencil, eraser, manuscript and notebook. • Access to a piano or piano keyboard is strongly recommended. • Video recording device (e.g. phone) Set texts: • Bolkovac, E & Johnson, J. 150 Rounds for Singing and Teaching • Kodály, Zoltan. 333 Exercises • Level 4 will also require the following: Molnár, A. (1955). Classical Canons • Other supplementary resource: KMEIA Purely Pentatonic CD Christchurch | AKC Primary Level 1 Course |2017 Content: Musicianship Level 1 Musicianship Level 2 Musicianship Level 3 • doh and lah tetra-tonic • All pentatonic scales ( doh, re, • Advanced review of all • doh pentatonic mi, soh, lah) pentatonic scales ( d,r,m,s,l ) • intervals of Maj 2nd and Min • Pentatonic tri-chords and • Pentatonic tetra-chords 3rd tetra-chords • Intervals Maj 2nd, Min 3rd, Pitch and • Introduction to Diatony • Diatonic Major, Natural and Maj 3rd, Per 4th, Per 5th and tonality Harmonic Minor Scales Min 6th • Key signatures: 2 sharps, 1 flat • Intervals: Maj 2 nd , Min 3 rd , •Diatonic Scales – Major, Natural Minor and Melodic Maj 3 rd , Per th 4 Minor • Duple and triple metre in • Duple, triple and quadruple • Even and uneven divisions of simple and compound time metre in simple and a single beat in both simple • Even divisions of a single beat compound time. and compound time. including • Even and uneven divisions of • Simple syncopation, including Rhythm a single beat in both simple anticipation of the first beat ± • , , in simple and compound time. and use of the quaver rest. time, and ±., in compound time. • Unison, pentatonic and tetra- • Unison pentatonic exercises. • Solfa and letter names in the tonic exercises. • Sol-fa and letter names in the treble and bass clefs in Sight • Sol-fa and letter names in treble and bass clefs. pentatony and diatony in Singing simple form. treble and bass clefs • Use of the tuning fork. • Use of the tuning fork. • Use of tuning fork. • Simple two-part exercises • Pentatonic scales against a • Pentatonic scales against a and canons tonic drone. drone or simple melodic • Introduction to sing and play. • Simple sing and play ostinato Part Work exercises. • Ensemble performance of canons and exercises. • Sing and play canons and exercises • Simple two-part exercises • Diatonic harmony in Major including work with harmonic and Minor keys using primary pillar tones (d-s, l- m) triads Harmony • Diatonic triads in root position in Major and Harmonic minor scales • Memorisation of simple • Memorisation of longer • Memorisation of longer melodic and rhythmic patterns melodic and rhythmic melodic and rhythmic Memory up to 16 beats patterns up to 8 bars. patterns up to 12 bars and Dictation • Simple melodic dictation •Simple 2 part rhythmic and using tetra-tonic or pentatonic melodic dictation tone sets. • Improvisation using known • Improvisation using known • Improvisation using known rhythmic and melodic rhythmic and melodic rhythmic and melodic Creative vocabulary vocabulary vocabulary Christchurch | AKC Primary Level 1 Course |2017 Content continued… Musicianship Level 4 • Advanced review of extended pentatonic scales (d,r,m,s,l ) • Intervals – all that are found in the pentatonic scale. Pitch and tonality • Diatonic Scales – Major and all forms of the Minor scale • Chromatic alterations. • More advanced syncopation, including anticipation/delay of any beat and use of Rhythm quaver rest • Duplet and triplet • Solfa and letter names in the treble and bass clefs in extended pentatonic and all Sight Singing forms of the diatonic scales studied. • Use of the tuning fork. • Pentatonic scales against a drone or simple melodic or rhythmic ostinato Part Work • Performance of canons and exercises in small ensembles • Sing and play canons and exercises • Diatonic triads: Maj, Min, Aug and Dim. Harmony • Fundamental diatonic harmony in Maj and Min keys using primary triads • Basic introduction to Dominant 7th • Melodic dictation using pentatonic or Major Scale. Memory and • Rhythmic dictation in any of the simple or compound metres Dictation • Simple 2 part dictations – rhythmic, Creative • Improvisation using known rhythmic and melodic vocabulary Christchurch | AKC Primary Level 1 Course |2017 Assessment: Assessment tasks and schedule will be outlined in the first week of the course. Assessment tasks will be submitted during both weeks 1 and 2 of the course, with some practical tasks (sing and play) to be submitted electronically to the lecturer during Terms 1 and 2. Assessment tasks are to be set and determined by the lecturer. They will comprise of a variety of individual part-work tasks, drills, dictations, aural and visual analysis as well as ensemble tasks. Details will be provided in week 1 of the course. Assessment types will include – Performing: • Individual technical work and part-work (sing and play on piano keyboard), • Ensemble (singing in parts) Aural and Visual Analysis • Dictations • Written Test. Assessment will be marked according to the following matrix (sourced from the Australian Kodály Certificate Curriculum 2013). Standards Matrix Aural and Visual Analysis High Distinction Distinction Credit Pass Fail The student identifies The student identifies The student identifies The student identifies The student rarely and notates with no, or and notates with few and notates with some and notates with many identifies and notates very few inaccuracies, inaccuracies, that do inaccuracies but inaccuracies that may with accuracy and consistently maintaining not affect the overall maintains the general alter the shape and significantly alters the overall shape and shape and function of character, shape and function of the music overall shape and function of the music the music function of the music function of the music Performing High Distinction Distinction Credit Pass Fail The student The student The student The student The student demonstrates an demonstrates an demonstrates a mainly demonstrates a demonstrates an accurate, fluent accurate, fluent accurate and fluent reasonably accurate inconsistent or performance that performance that performance with performance and incoherent shows consistent shows substantial technical proficiency. adequate technical performance with technical proficiency. technical proficiency. proficiency. frequent inaccuracies/ lapses in performance. The student performs The student performs The student performs with some expression The student expressively, expressively, with good and awareness of style, communicates some of The student demonstrating a strong awareness of the style, and generally the style and character communicates little or sense of the style, communicating the communicates the of the music. none of the style and effectively mood and character of mood and character of character of the music. communicating the the music. the piece. mood and character of the music. Christchurch | AKC Primary Level 1 Course |2017 .
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