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MU 270/Voice California State Polytechnic University, Pomona COURSE SYLLABUS MU 270 - Performance Seminar/VOICE –Spring 2014 Time and Location: T 1-1:50 Bldg. 24-191 Instructor/ office: Lynne Nagle; Bldg. 24 – 155 and 133 Office Hours: M 9:30-10:30; T11:00-12:00; T 4:00-5:00; others TBA Phone: (909) 869-3558 e-mail: [email protected] Textbook and Supplies: No textbook is needed; notebook required. Course Objectives: To provide a laboratory recital situation wherein students may perform for each other, as well as for the instructor, for critical review. They will share song literature, musical ideas, production techniques, stylistic approaches, etc., in order to learn from each other as well as from the instructor. Assignments and Examinations:!In-class performances: You will be expected to perform a minimum of 3 times (5 for upper division) during each quarter, each performance taking place on a different day. Songs may be repeated for performance credit, but lower division students must perform at least 3 different songs and upper division at least 4 different songs. Please provide a spoken translation when performing in a foreign language. A brief synopsis of an opera, musical or scene is also appropriate if time allows. ALL PERFORMANCES IN SEMINAR ARE TO BE MEMORIZED except for traditional use of the score for oratorio literature. You are also expected to contribute to the subsequent discussion. Concert Reports: TWO (2) typed reports on choral/vocal concerts, recitals or shows must be submitted by week 10 seminar or sooner. You may use any concert you have attended since the end of the previous quarter. Concerts in which you participate and receive a grade are not acceptable. Please use this assignment to learn about your craft! Try to attend at least one professional level concert this quarter. Seminar Notebook (Fall & Spring Quarters): A seminar notebook of all seminar performances is required. Purchase a spiral notebook or continue with the previous quarter’s notebook. Write each student’s name at the top of a separate page. Take notes on each performance, writing the song title and composer and the date of the performance. Write your own impressions of performances focusing on how you might help the person improve if you were the teacher. Keep journal pages for yourself and write others’ comments made on your performance in seminar and thoughts about your voice lessons and coachings. Keep it simple and do-able. This notebook is due (please do not re-type it) at the jury exam or the last day of class. Viewing and listening to professional singers (Winter Quarter): Facebook, ITunes, Amazon and youtube make it possible to see and hear some of the greatest artists of our times, and those of previous eras. Listen to 3 hours of singing (about 20 minutes per week) and use the column headings below to write/describe what you have heard and place in a notebook. You may view/listen on line, use videos/DVDs, CDs, radio, television— whatever is most convenient for you. If I forward links to you, these may also be used. Column headings are to be:!1. Artist 2. Composer 3.Work 4.Source 5.Length of time listening 6.Observations/Reactions Part A: Choose 1.5 hours of viewing/listening selected from the attached list of classical artists. Try to select your own voice type. Also, find at least one song or aria that you are studying and listen to at least 2 different singers performing it. Do a comparison and tell me what you learned. Part B: Choose 1.5 hours of viewing/listening of your choice; genres to include musical theatre, jazz, commercial styles. Focus on the best of the singers who perform in the styles in which you are most interested. Notebook is due at the jury exam or earlier. Course Policies: !Every music major enrolled in MU 177or MU 377 should also be enrolled in MU 270 during the same quarter. Please sign up for a 30-minute coaching time with Ms. Janet Noll during the first week of the quarter. The coachings are to provide sufficient time in preparation for seminar and juries. Please do not enter the classroom when someone is performing. Please let the instructor know if you came in late as attendance is taken for each class. There is absolutely no eating or drinking in room 101 or 191 (water bottles excepted). These are your performance spaces. Please help to protect them! Plan to perform 1/2 the number of required songs by the middle of the quarter. Do not wait for the final two weeks! Grading Policies: Grades for this course are based on the following: Class Participation: 10% (Includes your willingness to offer comments and participate in discussion.) Performance: 50% (Includes how many times you perform, numbers of new songs, quality of performances.) Concert Reports: 20% Seminar Notebook or Listening Journal: 20% Due to the nature and infrequency of this class, it is important to attend each week and to either perform and/or observe. One absence will not affect your grade. Additional absences will drop the grade by one letter for each absence. More than one tardy will also affect your grade as two tardies = one absence Check-Out Policy for Studio Music: The vocal materials in the studios (rooms 132-133) are needed for the teaching process. They can be made available to students on a limited basis, and the following policy is intended to codify acceptable use by students. Vocal anthologies and books are available for checkout on a one-hour return basis. They may be checked out with Janet Noll only. Bring your car or dorm keys and leave them for the time that you have the music. Please return the music during the time between subsequent coaching sessions, as close to the one-hour time limit as possible. We have purchased several new anthologies this year, especially in the commercial/jazz/pop area. Background CD’s are also available but must be checked out from Janet. Music Preparation for Lessons and Coachings: Music preparation materials: please make sure that you have two copies of your music or your background CD (to save the time it takes us to locate a book). Music will need to be in one of three forms: 1. Well broken-in original (which stays open on piano stand). 2. Back-to-back in a 3-ring binder (if plastic sleeves are used for accompanist copy, please use non-glare. Sleeves are not appropriate for student copy as they discourage appropriate marking of music). 3. Accordion-fold taped music (small pieces of tape applied side-to-side function as hinges). Classical Singers List SOPRANOS TENORS Anna Moffo (Una voce poco fa) Nicolai Gedda Beverly Sills Jussi Bjoerling Joan Sutherland Jose Carreras Lily Pons Franco Corelli Sumi Jo Richard Tucker Carol Vaness Placido Domingo Kathleen Battle Luciano Pavarotti Diana Damrau (O Zittre Nicht; Glitter, Be Gay) Alfredo Kraus Arleen Auger Jon Vickers Natalie Dessay Fritz Wunderlich Leontyne Price Mario Lanza Birgit Nilsson George Shirley Monserrat Caballe Ramon Vargas Maria Callas Lauritz Melchior Renee Fleming Kiri Te Kanawa Renato Scotto BARITONES Dawn Upshaw Tito Gobbi Deborah Voigt Dmitri Hvorostovsky Angela Gheorghiu Vladimir Chernov Aprile Millo Robert Merrill Mirella Freni Hermann Prey Elly Ameling Thomas Hampson Anna Netrebko Sherrill Milnes Leona Mitchell Dietrich Fischer-Dieskau Robert McFerrin MEZZOS Josh Groben Frederica Von Stade Ingvar Wixell Cecilia Bartoli Rod Gilfrey Marilyn Horne Susan Graham Elīna Garanča BASS/BARITONE Teresa Berganza Samuel Ramey Simon Estes Janet Baker Bryn Terfel Joyce DiDonato Kevin Berdette Jennifer Larmore René Pape Tatiana Troyanos Anne Sofie von Otter Grace Bumbry Denyce Graves CONTRALTOS Marion Anderson Agnes Baltsa Kathleen Ferrier Master Classes on youtube: Joyce DiDonato, Thomas Hampson, Renee Flemiing, Susan Graham, Grace Bumbry, Placido Domingo, Luciano Pavarotti, Montserrat Caballe, Barbara Bonney, Denyce Graves .
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