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Ohio University School of Music

Performance Lab MUS 1090

2014-2015 Syllabus

Advising Professors

Alison Sincoff, Associate Professor of Flute

(740) 707-5849

[email protected]

Matthew James, Associate Director

(740) 593-4244

[email protected]

Meeting Time & Location

Wednesdays, 12:55-1:50pm in the Recital Hall, Glidden 101, or Galbreath Chapel.

Please note that this class will not meet every Wednesday. The required Wednesday PL

(Performance Lab) dates will be posted on the PL bulletin board outside the 4th

floor main

music office at the beginning of each semester. Students need to attend all Wednesday PL’s

PLUS enough additional performances to fulfill the requirements below. Visit the bulletin

board on a consistent basis for PL updates and information.

Grading & Degree Requirements

Grading is based entirely on attendance. If more than two scheduled Wednesday PL’s are

missed for any reason, PL credit will not be met for that semester.

From the Undergraduate Handbook:

All undergraduate B. M. students in the School of Music are required to attend a total of

twelve concerts, recitals and/or PL 1090’s (Performance Labs) each semester for six

semesters. All B.M. students who have not yet achieved Junior Applied Level must attend

PL 1090’s scheduled on Wednesdays at 12:55pm, with that attendance counting toward

fulfillment of the required twelve events (no PL credit will be given if there are more than

two absences).

All undergraduate B.A. students are required to attend a total of twelve concerts, recitals

and/or PL 1090’s (Performance Labs) each semester for four semesters. When registered for

MUS 1090, B.A. students must attend all PL's scheduled on Wednesdays at 12:55pm, with

that attendance counting toward the required twelve events (no PL credit will be

given if there are more than two absences).

For B. M. students, failure to complete MUS 1090 with a grade of CR for six semesters will

result in denial of graduation. For B.A. students, failure to complete MUS 1090 with a grade

of CR for 4 semesters will result in denial of graduation.

Class conflicts with the Wednesday PL 1090 time must be submitted to the Associate

Director in writing by the end of the first week of the semester.

PL Cards

PL cards will be distributed at the beginning of performances, and collected at the

conclusion. These cards will be the only record of your attendance. Therefore, please be

sure to sign AND clearly PRINT your name so that it is legible.

Electronic Device Policy

The use of computers, cell phones (including texting) or any other electronic devices during

PL’s, recitals or concerts is prohibited. Students found in violation of this rule will not

receive PL credit for the event at which the violation took place. Students who violate this

rule a second time will not receive PL credit for the entire semester.

Goals

Students will hear a wide range of presentations and performances intended to enrich their

education as music majors. The PL’s will feature student, faculty, and visiting artist

performances or presentations. The utmost respect for those performing, along with proper

concert etiquette, is essential.

Accommodation Statement Any student who feels she/he may need an accommodation based on the impact of a

disability should contact the advisor of this course privately to discuss specific needs. If you

are not yet registered as a student with a disability, please contact the Office of Disability

Services at 740-593-2620 or visit the office in 348 Baker University Center.

www.ohio.edu/disabilities/faculty/syllabus.cfm

SCHOOL OF MUSIC

GROUP PIANO FOR MUSIC MAJORS Level I – MUS 1410 Section______

Instructor: Coordinator: Dr. Christopher Fisher

582 Glidden Hall Phone: 593.4233 Email: [email protected]

OBJECTIVE The class piano program for music majors at Ohio University is designed to equip students with the functional keyboards skills necessary to confidently meet the demands commonly encountered by the professional musician. Keyboard skills addressed include technique, sight-‐reading, harmonization, transposition, score reading, accompanying, improvisation and other creative activities. REQUIRED MATERIALS

Alfred’s Group Piano for Adults, Book One, Second Edition – Lancaster/Renfrow The Piano Student’s Guide to Effective Practicing – Nancy O’Neill Breth

EVALUATION/GRADING 10% CLASS PARTICIPATION AND PREPAREDNESS – Daily preparation, impromptu quizzes, practice

partner session report forms, other projects. 15% QUIZ ONE – Rendered during the fourth week of class; graded by the class instructor. 30% MIDTERM EXAM – Rendered during the seventh week of class; graded by the class instructor. 15% QUIZ TWO – Rendered during the eleventh week of class; graded by the class instructor. 30% FINAL EXAM – Rendered during the last week of classes and during finals week; graded by Dr.

Fisher and the class instructor. ATTENDANCE POLICY Class attendance is crucial for acceptable student progress. Therefore, more than two unexcused absences throughout the course of the semester will result in the lowering of the final grade by one plus/minus point per absence beyond this limit (i.e. from A-‐ to B+, etc.). Two tardies will equal one absence. PRACTICE Consistent, thoughtful practice is essential to student success. Students are therefore expected to practice a minimum of 45 minutes to 1 hour daily. Piano practice facilities are available on the 6th floor of the Music Building. TEST OUT REQUIRMENTS Students with significant previous piano experience are encouraged to take a placement test. Students must prepare and perform the required exam for Dr. Fisher during the first week of the semester. ACCOMODATION STATEMENT Any student who feels s/he may need an accommodation based on the impact of a disability should contact me privately to discuss your specific needs. If you are not yet registered as a student with a disability, please contact the Office of Disability Services at 740-‐593-‐2620 or visit the office in 348 Baker University Center. www.ohio.edu/disabilities/faculty/syllabus.cfm.

SCHOOL OF MUSIC

GROUP PIANO FOR MUSIC MAJORS Level II – MUS 1420 Section______

Instructor: Coordinator: Dr. Christopher Fisher

582 Glidden Hall Phone: 593.4233 Email: [email protected]

OBJECTIVE The class piano program for music majors at Ohio University is designed to equip students with the functional keyboards skills necessary to confidently meet the demands commonly encountered by the professional musician. Keyboard skills addressed include technique, sight-‐reading, harmonization, transposition, score reading, accompanying, improvisation and other creative activities. REQUIRED MATERIALS

Alfred’s Group Piano for Adults, Book One, Second Edition – Lancaster/Renfrow The Piano Student’s Guide to Effective Practicing – Nancy O’Neill Breth

EVALUATION/GRADING 10% CLASS PARTICIPATION AND PREPAREDNESS – Daily preparation, impromptu quizzes, practice

partner session report forms, other projects. 15% QUIZ ONE – Rendered during the fourth week of class; graded by the class instructor. 30% MIDTERM EXAM – Rendered during the seventh week of class; graded by the class instructor. 15% QUIZ TWO – Rendered during the eleventh week of class; graded by the class instructor. 30% FINAL EXAM – Rendered during the last week of classes and during finals week; graded by Dr.

Fisher and the class instructor. ATTENDANCE POLICY Attendance is crucial for acceptable student progress. Therefore, more than two unexcused absences throughout the course of the quarter will result in the lowering of the final grade by one plus/minus point per absence beyond this limit (i.e. from A-‐ to B+, etc.). Two tardies will equal one absence. PRACTICE Consistent, thoughtful practice is essential to student success. Students are therefore expected to practice a minimum of 45 minutes to 1 hour daily. Piano practice facilities are available on the 6th floor of the Music Building. TEST OUT REQUIRMENTS Students with significant previous piano experience are encouraged to test out of this quarter of the class piano sequence. Students must prepare and perform the required exam Dr. Fisher during the first week of the quarter. ACCOMODATION STATEMENT Any student who feels s/he may need an accommodation based on the impact of a disability should contact me privately to discuss your specific needs. If you are not yet registered as a student with a disability, please contact the Office of Disability Services at 740-‐593-‐2620 or visit the office in 348 Baker University Center. www.ohio.edu/disabilities/faculty/syllabus.cfm.

SCHOOL OF MUSIC

GROUP PIANO FOR MUSIC MAJORS Level III – MUS 2410 Section______

Instructor: Dr. Christopher Fisher 582 Glidden Hall Phone: 593.4233 Email: [email protected] OBJECTIVE The class piano program for music majors at Ohio University is designed to equip students with the functional keyboards skills necessary to confidently meet the demands commonly encountered by the professional musician. Emphasis is placed on development of technique, reading skills, elementary/early intermediate repertoire, choral and open score reading, instrumental transposition, as well as basic accompanying. REQUIRED MATERIALS

Alfred’s Group Piano for Adults, Book Two (Second Edition) – Lancaster/Renfrow The Piano Student’s Guide to Effective Practicing – Nancy O’Neill Breth Technical Skills, Level Four – Magrath Jazz, Rags, and Blues for Two, Book Two -‐-‐ Mier

EVALUATION/GRADING 10% CLASS PARTICIPATION AND PREPAREDNESS – Daily preparation, impromptu quizzes, practice partner

session report forms, other projects. 15% QUIZ ONE – Rendered during the fourth week of class; graded by the class instructor. 30% MIDTERM EXAM – Rendered during the seventh week of class; graded by the class instructor. 15% QUIZ TWO – Rendered during the eleventh week of class; graded by the class instructor. 30% FINAL EXAM – Rendered during the last week of classes and during finals week; graded by the class

instructor. ATTENDANCE POLICY Class attendance is crucial for acceptable student progress. Therefore, more than two unexcused absences throughout the course of the semester will result in the lowering of the final grade by one plus/minus point per absence beyond this limit (i.e. from A-‐ to B+, etc.). Two tardies will equal one absence. PRACTICE Consistent, thoughtful practice is essential to student success. Students are therefore expected to practice a minimum of 45 minutes to 1 hour daily. Piano practice facilities are available on the 6th floor of the Music Building. TEST OUT REQUIRMENTS Students with significant previous piano experience are encouraged to take a placement test. Students must prepare and perform the required exam for Dr. Fisher during the first week of the semester. ACCOMODATION STATEMENT Any student who feels s/he may need an accommodation based on the impact of a disability should contact me privately to discuss your specific needs. If you are not yet registered as a student with a disability, please contact the Office of Disability Services at 740-‐593-‐2620 or visit the office in 348 Baker University Center. www.ohio.edu/disabilities/faculty/syllabus.cfm

SCHOOL OF MUSIC

GROUP PIANO FOR MUSIC MAJORS Level IV – MUS 2420 Section______




session report forms, other projects. 15% QUIZ ONE – Rendered during the fourth week of class; graded by the class instructor. 30% MIDTERM EXAM – Rendered during the seventh week of class; graded by the class instructor. 15% QUIZ TWO – Rendered during the eleventh week of class; graded by the class instructor. 30% FINAL EXAM – Rendered during the last week of classes and during finals week; graded by the class


SCHOOL OF MUSIC

GROUP PIANO FOR MUSIC MAJORS Level V – MUS 3590 Section______

Instructor: Dr. Christopher Fisher 582 Glidden Hall Phone: 593.4233 Email: [email protected] OBJECTIVE The class piano program for music majors at Ohio University is designed to equip students with the functional keyboards skills necessary to confidently meet the demands commonly encountered by the professional musician. Emphasis is placed on the development of technique, intermediate repertoire, accompanying, improvisation, reading from a lead sheet, advanced harmonization and transposition, open score reading, and instrumental transposition. Individual and group projects are central to the curriculum. REQUIRED MATERIALS

Get America Singing…Again! (Piano Book) – Hal Leonard Burgmuller, Czerny and Hanon – Clarfield 371 Four-‐Part Chorales, Volume 1 by JS Bach (Kalmus) Jazz, Rags, and Blues for Two, Book Three -‐-‐ Mier The Piano Student’s Guide to Effective Practicing – Nancy O’Neill Breth

EVALUATION/GRADING 10% CLASS PARTICIPATION AND PREPAREDNESS – Daily preparation and impromptu quizzes. 20% PROJECT ONE – Rendered during the fourth week of class; graded by the class instructor. 25% MIDTERM EXAM – Rendered during the seventh week of class; graded by the class instructor. 20% PROJECT TWO – Rendered during the eleventh week of class; graded by the class instructor. 25% FINAL EXAM – Rendered during the last week of classes and during finals week; graded by the class


SCHOOL OF MUSIC

GROUP PIANO FOR MUSIC MAJORS Level IIV – MUS 3600 Section______




session report forms, other projects. 15% QUIZ ONE – Rendered during the fourth week of class; graded by the class instructor. 30% MIDTERM EXAM – Rendered during the seventh week of class; graded by the class instructor. 15% QUIZ TWO – Rendered during the eleventh week of class; graded by the class instructor. 30% FINAL EXAM – Rendered during the last week of classes and during finals week; graded by Dr. Fisher

and the class instructor. ATTENDANCE POLICY Class attendance is crucial for acceptable student progress. Therefore, more than two unexcused absences throughout the course of the semester will result in the lowering of the final grade by one plus/minus point per absence beyond this limit (i.e. from A-‐ to B+, etc.). Two tardies will equal one absence. PRACTICE Consistent, thoughtful practice is essential to student success. Students are therefore expected to practice a minimum of 45 minutes to 1 hour daily. Piano practice facilities are available on the 6th floor of the Music Building. TEST OUT REQUIRMENTS Students with significant previous piano experience are encouraged to take a placement test. Students must prepare and perform the required exam for Dr. Fisher during the first week of the semester. ACCOMODATION STATEMENT Any student who feels s/he may need an accommodation based on the impact of a disability should contact me privately to discuss your specific needs. If you are not yet registered as a student with a disability, please contact the Office of Disability Services at 740-‐593-‐2620 or visit the office in 348 Baker University Center. www.ohio.edu/disabilities/faculty/syllabus.cfm

Ohio University

Spring 2015

African Ensemble II

MUS 2481-101 (4606) and MUS 5481 -100 (4607)

1.0 Credit

Ridges Auditorium

Instructor: - Dr. Paschal Yao Younge

Contact: - Office Ridges Auditorium

- Email [email protected]

- Off. Hours Tuesday and Thursday–: 9am-10am; By Appointment Only

Students are required to check Bb and their OAK email accounts

regularly for assignments and notices

Class Schedule - Monday 7:10-9:00pm

Course Description and Objectives:

This course provides an opportunity for advanced study and performance of African music and dance in an

ensemble setting from sub-Saharan Africa. Students will employ various African performance techniques and will

demonstrate their skills using the master drum, supporting instruments, singing and dance. Social, cultural and

historical backgrounds of various ethnic groups, functions and analytical study of dance movements in ritual,

ceremonial, religious, and recreational contexts will also be investigated. Films and videotapes will provide visual

examples. Students will have opportunities to perform on campus and also tour with the ensemble.

Learning Contract: This syllabus is a contract that is a binding agreement stating my expectations for you in

this course, how you should proceed through the course, and how you will evaluated. Your success in this class

requires that you: (1) Read, understand and complete assignments. (2) Understand and obey the rules for avoiding

plagiarism. (3) Respect the ideas and opportunities of others.

Attendance and Participation: Students with more than 6 absences--excused and/or unexcused--will end up with

a grade of F. This clause however will not apply to Excused Absences due to authorized University activity such

as a departmental trip, music or debate activity, ROTC function, or athletic competition, or others as stipulated in

Faculty Senate Handbook and Undergraduate Catalog. Early departure, sleeping in class, cell phone interruptions,

doing non-course related computer work or reading non-course related materials in class is not acceptable. Miss a

class for other good reason? Only WRITTEN excuses will be accepted. I will be the final arbiter if that excuse is

acceptable. Any request for delays or rescheduling of class activities must be made seventy-two hours in advance.

Class participation is mandatory. You can only have the ensemble when you are physically present in class. I can

assure you, without exception, that students who attend class regularly and actively participate will earn better

grades than those who attend class infrequently and seldom participate in class activities.

Accommodation Statement: Any student who suspects s/he may need an accommodation based on the impact of

a disability should contact the class instructor privately to discuss the student’s specific needs and provide written

documentation from the Office of Student Accessibility Services. If the student is not yet registered as a student

with a disability, s/he should contact the Office of Student Accessibility Services.” 740-593-2620 or visit the

office in 348 Baker University Center. www.ohio.edu/disabilities/faculty/syllabus.cf

Evaluation: Class Attendance & Participation and Final Group Performance will determine your final grade.

Determinants of Final grade

Class Attendance/Participation 40

Final Group Performance 60

Total 100 points

mailto:[email protected]

http://www.ohio.edu/disabilities/faculty/syllabus.cf

2

Grades Scale: 90 – 100 A

80 - 89 B

70 -79 C

60 - 69 D

59 - 0 F

Copyright and Fair Use: All the music (dance-drumming arrangements), classroom activities, and all materials

associated with this class and developed by the instructor are copyrighted in the name of Dr. Paschal Yao

Younge) on this date, January 12 2015.

COURSE SCHEDULE

WEEK DATE UNIT/MATERIALS

One January 12 Review of course outline, expectations for the semester, etc.

Mande Medley: Dibon, Fankani and Kassa

A celebration of Mande dance from West Africa through Dibon, Fankani

and Kassa from Senegal and Guinea. Dibon is played to accompany

farmers returning from a long day of work in the fields among the

Malinke of Guinea, West Africa. Fankani features at the feast of

Tabaski, full moon festival and also as ceremonial welcome performance

from the Wassolon region of Guinea. Kassa from the Macenta and

Balandougou, region of Guinean is performed at life cycle events

Two January 19 MLK NO Classes

Three January 26 Mande Medley: Dibon, Fankani and Kassa

Four February 2 Mande Medley: Dibon, Fankani and Kassa

Five February 9 Mande Medley: Dibon, Fankani and Kassa

Six February 16 Mande Medley: Dibon, Fankani and Kassa

Seven February 23 Gota of the southeastern Ewes of Ghana

Gota originated from the Kabre ethnic group of Benin. It was introduced

to the Southeastern Ewe of Ghana in the early nineteenth century through

trade. Originally performed in Benin for their war god, Gota is now

performed as a recreational music and dance by the Southern Ewe.

Original Instruments used include: two calabashes inverted into buckets

that are half-filled with water, two gourds (Egui) as the "master drum,"

and gankogui as the time line reinforced by axatse and several other slit

and double bells.

Eight March 2 - 6 Spring Break - No classes

Nine March 9 Gota of the southeastern Ewes of Ghana

Ten March 16 Gota of the southeastern Ewes of Ghana

3

Eleven March 23 Kpatsa

Kpatsa is the principal traditional entertainment music and dance of the

Dangme of Ghana, in West Africa. The dance itself involves sideways

and forward shuffling movements, making use of short, brisk steps with

the body slightly bent. The dance steps move the dancer either diagonally

or backwards. With arms bent in front of the body, the right leg steps in

concert with the movement of the right arm while the left leg steps at the

same time as the left arm; while one foot remains flat on the ground, the

heel of the other foot is lifted off the ground.

Twelve March 30 Kpatsa

Thirteen April 6 Kpatsa

Fourteen April 13 General Review: Mande Medley: Dibon, Fankani and Kassa

Fifteen April 20 General Review: Gota and Kpatsa

Week Sixteen April 27 – May 1 Spring Semester Examination Period

Final Group Performances/Evaluations

Check Calendar for Exact Date/Time

Ohio University Symphony Orchestra MUS 2520/5520

SPRING 2015 _____________________________________

Instructor: Steven Huang Orchestra Assistant: Jordan Alfredson

Office: Music Building 497B Office: Music Building, 497D

Phone: 593-4240 (o) Phone: n/a

Email: [email protected] Email: mailto:[email protected]

Meeting hours and location:

Mondays, 7-9pm, Glidden 101 LARGE ORCHESTRA

Tuesdays, 3.05-4.25pm, Glidden 101 SMALL ORCHESTRA

Thursdays, 3.05-4.25pm, Glidden 101 SMALL ORCHESTRA

No rehearsals on the following dates:

Mondays: January 19 (MLK Day)

plus concerts and dress rehearsals (location varies, usually Memorial Auditorium); see below.

Office hours: TBA

Welcome to the Ohio University Symphony Orchestra! The mission of this ensemble is to provide qualified Ohio

University musicians the opportunity to study and perform excellent symphonic repertoire of a wide range of styles,

and to serve as a superlative cultural institution to the OU and Athens communities. The Symphony Orchestra will

generally rehearse Large Orchestra repertoire exclusively on Monday evenings.

CREDIT OPTIONS: All students participating in Symphony Orchestra need to enroll in MUS 2520 or MUS 5520.

Those participating in the Large Orchestra (i.e., Mondays) only should sign up for 1 credit. All others should enroll

for 2 credits.

EVALUATION: Your evaluation will be based on two factors: Attendance and Musical Preparation.

Attendance

The presence of every individual is necessary for the success of a rehearsal or performance of that ensemble.

Known absences must be announced via e-mail at least the week before the missed rehearsal, by e-mail or phone

(something with a “paper trail.” Please make sure your music is available for rehearsal, and for winds and

percussion, try to find a substitute; otherwise YOUR ABSENCE WILL NOT BE EXCUSED.

Excused absences include most school related activities, important family functions, auditions, and other activities

related to your studies and career. For illness and other unexpected absences, submit a retroactive request for

absence; habitual requests may not be accepted.

Unnotified absences for health and family emergencies will be considered on a case by case basis between the

student and the ensemble director. Health-related absences may require a doctor’s note, at the discretion of the music

director.

Unexcused absences and/or tardiness will adversely affect your grade and membership status with the group; a

single unexcused absence or habitual tardiness may result in your grade lowered by one letter.

Missing a dress rehearsal or performance may result in an automatic failing grade for the term.



SPRING 2015 _____________________________________

Musical Preparation

Every enrolled student will perform a private, 5-minute “midterm” audition on selected excerpts of the performance

repertoire, usually one or two weeks before each concert. Excerpts will be announced at least two weeks before each

audition. All students will receive either a “satisfactory (S)” or “unsatisfactory (U)” mark; upperclassmen and

graduate music majors performing on their principal instruments may also receive a letter grade. Students

dissatisfied with their mark may ask for a reaudition, with the presence of another faculty member.

In addition, the music director reserves the right to call orchestra juries at any additional time during the term.

REQUIRED MATERIALS:

• Music (parts): Members are responsible for their parts and folders, which must be returned at the end of each

concert cycle to the librarian. FAILURE TO DO SO MAY RESULT IN WITHHOLDING OF YOUR GRADE OR

A FINANCIAL PENALTY. Replacement charges will be billed to musicians who lose or destroy their parts. All

music must be brought to rehearsals. NEVER MARK MUSIC IN PEN!

• Pencils

• Wire stand for sectionals, when necessary

• Instrument

• Concert Dress:

Men: Flat black tuxedo jacket and trousers, black bow tie, dress shoes, black socks, white tuxedo or dress shirt. A

black suit jacket is permissible, but a tux coat is preferred.

Women: Long flat black dress that falls below the knees, no metallic or sheer fabrics. Sleeve length should be cap

length or longer (no bare shoulders). Black dress shoes. Optionally, flat black blouse and trousers, black socks, and

shoes.

Any student who feels s/he may need an accommodation based on the impact of a disability should contact me privately to discuss your specific needs and provide written documentation from Student Accessibility Services. If you are not yet registered as a student with a disability, please contact Student Accessibility Services at 740-593-2620 or visit the office in 348 Baker University Center.


SPRING 2015 _____________________________________

SCHEDULE:

Rehearsal schedules for the coming week will be posted on the bulletin board outside of room 497, as well as on

Blackboard (https://blackboard.ohiou.edu/) It is your responsibility to check the schedule.

Concert obligations:

CONCERT #1 Date Time Location

Dress Rehearsal Sun, Feb 22, 2015 1-4pm Memorial Auditorium

Performance Sun, Feb 22, 2015 4pm Memorial Auditorium

Repertoire: Rossini, La Gazza Ladra Overture, Gershwin Rhapsody in Blue, Walker Lyric for Strings, Brahms

Variations on St. Anthony Chorale

Dress: Standard Tux/Black

CONCERT #2: OPERA Date Time Location

Dress Rehearsal #1 Tue, Mar 24, 2015 7-10pm Memorial Auditorium

Dress Rehearsal #2 Wed, Mar 25, 2015 7-10pm Memorial Auditorium

Performance #1 Fri, Mar 27, 2015 7.30pm Memorial Auditorium

Performance #2 Sat, Mar 28, 2015 7.30pm Memorial Auditorium

Repertoire: Sullivan, Pirates of Penzance

Dress: Black (pit)

CONCERT #3 Date Time Location

Dress Rehearsal Mon, Apr 13, 2015 7pm-10pm Memorial Auditorium

Performance Tue, Apr 14, 2015 7.30pm Memorial Auditorium

Repertoire: Ross, “Stealth,” Saint-Saëns Cello Concerto in A Minor, Rimsky-Korsakov Scheherezade

Dress: Standard tux/Black

CONCERT #4: Few

strings only

Date Time Location

Dress Rehearsal Thu, Apr 16, 2015 7pm-10pm Memorial Auditorium

Performance Sun, Apr 19, 2015 4pm Memorial Auditorium

Repertoire: Corigliano, Fern Hill (with Choral Union; Dr. Paul Mayhew, conductor)

Dress: Standard tux/Black

Additional resources will be posted to Blackboard and on the orchestra board in front of Rm 497.

MUS 2521/5521

Campus Orchestra Sp 2015

Instructor: Steven Huang Graduate Teaching Assistant: Jordan Alfredson Office: Glidden 497B Email: [email protected] Phone: 593-4240 Graduate Concertmaster: Alice Silva Email: [email protected] Email: mailto:[email protected] COURSE DESCRIPTION: The mission of this ensemble is to provide qualified Ohio University musicians the opportunity to study and perform string repertoire of a wide range of styles, and to serve as a superlative cultural institution to the OU and Athens communities. REQUIRED MATERIALS:

• Music (parts): Each member is responsible for his or her folder of music. Original parts must be returned at the end of each concert cycle to the librarian. FAILURE TO DO SO MAY RESULT IN WITHHOLDING OF YOUR GRADE, A FINANCIAL PENALTY, OR BOTH. Replacement charges will be billed to musicians who lose or destroy their parts. All music must be brought to rehearsals. Never mark music in pen!

• Pencils • Instrument

GRADING: Because large musical ensembles are unlike the average class, where an individual’s participation or lack thereof has little or no effect on the remainder of the class, the presence of every individual is necessary for the success of a rehearsal or performance of that ensemble. The success of this ensemble depends on you. Your evaluation in this ensemble will be based on two factors: musical preparation and attendance.

• The music director reserves the right to call orchestra juries (i.e., playing tests) at any time during the quarter, which would affect the student’s grade.

• One unexcused absence or habitual tardiness may result in a full grade lower.

• Known absences must be submitted 5 days before the missed rehearsal, either in writing to the director or by leaving a message

(593-4240). Please make sure your music is available for rehearsal, otherwise your absence will not be excused. Musicians must submit an absence request for each missed rehearsal. Absences for health and family emergencies will be considered on a case by case basis by the ensemble director. Health-related absences may require a doctor’s note, at the discretion of the director.

• Missing a dress rehearsal or performance may result in an automatic failing grade for the quarter.

CONCERT DRESS REQUIREMENTS:

• Men: Flat black trousers, dress shoes, black socks, white or other solid color dress shirt • Women: Long flat black dress that falls below the knees, no metallic or sheer fabrics. Sleeve length should be cap length or longer

(no bare shoulders). Black dress shoes. Optionally, white or other solid color blouse, black skirt or slacks, and black shoes. CONCERT: TBA, Recital Hall DRESS

TBA, Recital Hall CONCERT Any student who feels s/he may need an accommodation based on the impact of a disability should contact me privately to discuss your specific needs and provide written documentation from Student Accessibility Services. If you are not yet registered as a student with a disability, please contact Student Accessibility Services at 740-593-2620 or visit the office in 348 Baker University Center.




Ohio University Choral Union Fall 2015 MUS 2531/MUS 5531 Class Time: M 7:00-9:00 pm Christ Lutheran Church 69 Mill St. Instructor: Dr. Paul J. Mayhew E-mail: [email protected] Office: Glidden 471-D Phone: 850.274.9232 Office Hours: MWF 1:00-2:30, Tues/Thurs by appointment Course Description: Ohio University Choral Union is open to all undergraduate and graduate students on the Athens Campus regardless of their major. The Ensemble performs two to three concerts each semester with an emphasis on larger, historic choral/orchestral works. The Choral Union is comprised of Ohio University students and Athens community members. Repertoire for October 23rd: It Takes a Village Joan Szykmo A Boy and a Girl Eric Whitacre I Don’t Feel No Ways Tired arr. Stacey Gibbs Repertoire for November 22nd: Carmina Burana Carl Orff Goals:

To provide Ohio University and Athens with a high-quality community chorus specializing in major historic choral works

To provide each member with independent musical skills that can be transferred to a life-long enjoyment of choral singing

Expectations: Come early to rehearsals; be prepared to start on time Bring all music and a pencil to every rehearsal, leave cell phone behind Be fully engaged in the learning and rehearsal process Learn your part, help others learn, contribute to the ensemble Actively develop positive relationships with other ensemble members

Attendance and Grading: In keeping with the academic and professional objectives of Ohio University’s School of Music, The Ohio University Choral Union enforces a strict policy of attendance and punctuality. Attendance is required at all rehearsals and performances. Unexplained Absence Because the class meets only 12 times, students are allowed to miss ONE rehearsal (not including dress rehearsals or performances) without giving explanation or advanced notice. Any unexplained absence beyond this will result in the semester grade being lowered as follows:

2 unexplained absences: Semester grade no higher than a B 3 unexplained absences: Semester grade no higher than a C 4 unexplained absences: Semester grade no higher than a D 5 unexplained absences: Automatic failure of the course Members must be punctual. Arriving late three times will be counted as ONE unexplained absence. Explained Absence If you are unable to sing because of sickness, you should attend rehearsal, actively listen, take notes, and follow in your music. If you are too sick to attend class, you must e-mail the director ([email protected]) no later than 4:00 pm on the day of the rehearsal. Failure to give advanced notice will be considered an “unexplained absence” with the exception of medical emergencies where a Health Center or Doctor’s note is provided. Excessive absence, even for illness, will prevent you from performing with the Choral Union. Any member who has missed three or more rehearsals for ANY reason is responsible for scheduling a conference with the director to discuss their grade and performance status. The following exceptions will be considered on a case-to-case basis:

Ohio University Institutional Excuses with ONE WEEK advance notice Extended illness (you must communicate with the director) Death in the immediate family (you must communicate with the director)

Dress Rehearsal and Performances Absence from a Dress Rehearsal or Performance will result in automatic failure of the course. Lateness to a Dress Rehearsal or Performance (15 minutes or more) will lower the semester grade by one letter. Disability Statement: Ohio University seeks to provide reasonable accommodations for all qualified persons with disabilities. The university will adhere to all applicable federal, state, and local laws, regulations and guidelines with respect to providing reasonable accommodations as required to afford equal educational opportunity. It is the student’s responsibility to register with Disability Support Services and to contact the faculty member in a timely fashion to arrange for suitable accommodations. 8/24/15 PJM

MUS 2532 and MUS 5532: Opera Theater


Dr. Lisa Foerster, Instructor

Spring, 2015

[email protected] / cell: 503-313-4102

381 Glidden Hall - Office hours by appt.

Meets: M-F 4:10-5:40, Room 494 or as announced

Accompanist: Allegra Sorley [email protected]

Course Description and Objectives:

The purpose of this course is to assist students in increasing their range of performance

skills (acting, singing and movement) in lyric theater through production of a main-stage

piece (Pirates of Penzance). The course presents a systematic and practical approach to

preparing and analyzing dramatic and musical material through in-depth character

analysis, allowing students the opportunity to explore acting and movement principles in

performance.

Bringing energy, a positive attitude, an open mind and well-prepared materials to each

class meeting will contribute greatly to your progress. Learning your role needs to happen

in and OUTSIDE OF class time in order to be able to create characters through rehearsal.

Enjoy the journey of discovery and improvement through your own hard work.

Student Learning Outcomes:

Upon successful completion of each semester of this course the student will

have (further) developed techniques of acting and movement to become a singing actor.

have developed knowledge of stage terminology and role preparation techniques

(including musical preparation and memorization).

demonstrate success in performance of lyric theater singing and dialogue.

understand the elements of operatic production including theatrical make up and

costuming, lighting, set design and construction.

have gained tools to prepare and audition for lyric theater productions.

Materials:

• Score for scene/opera as assigned and make up kit.

Course activities:

1. Each student is assigned a role or chorus part. You are required to learn the material in

a timely manner, as well as memorize the material by the given deadline.

2. Each student must appear at each class-time UNLESS OTHERWISE LISTED ON

THE WEEKLY SCHEDULE ON BLACKBOARD. I will attempt to schedule rehearsals

in advance, but reserve the right to change the schedule as needed. Musical rehearsals

will take place from January 12 through February 20 during the M-F class-time of 4:10-

5:40. Staging rehearsals will take place from February 23 until the performances on

March 27 and 28 and will include some evenings and Saturday rehearsals. No absences

will be excused during production week. All other conflicts must be discussed during the

first week of rehearsal with me and will be accommodated only if possible. Absences will

affect your final grade. Absence from a performance is an automatic failure of the course.

Attendance Policy:

This is a participatory class; therefore attendance is mandatory. A significant part of your

grade will be based on your attendance. You are required to be in class from Monday

through Friday from 4:10 to 5:40 for the entire semester. Do not schedule other activities

during this time. Please speak to me in advance about any known conflicts. When we are

in rehearsal, there will be days you are not required to be in class, but I reserve the right

to call you when needed. During staging rehearsals, rehearsal will take place outside of

the scheduled class time. You are expected to not miss these rehearsals without the

permission of the Opera Theater faculty. Each unexcused absence will lower your final

grade by one grade (B to B- etc.). You are required to have your score and a pencil with

you at every rehearsal. Physical Contact: Normal instruction in performance involves a certain amount of limited and neutral

physical contact between the teacher and the student. It is the responsibility of any

student who is uncomfortable with this physical contact to immediately inform the

teacher of that discomfort.

Accommodation:

Any student who suspects she/he may need an accommodation based on the impact of a

disability should contact the class instructor privately to discuss the student’s specific

needs and provide written documentation from the Office of Student Accessibility

Services. If the student is not yet registered as a student with a disability, she/he should

contact the Office of Student Accessibility Services.

Academic Misconduct:

Academic integrity and honesty are basic values of Ohio University. Students are

expected to follow standards of academic integrity and honesty. Academic misconduct is

a violation of the Ohio University Student Code of Conduct subject to a maximum

sanction of disciplinary suspension or expulsion as well as a grade penalty in the course.

You can find the Ohio University Code of Conduct at

www.ohio.edu/communitystandards/academic/students.cfm.

GRADING:

You will be graded on attendance, preparation, work in rehearsal and your performance.

SYLLABUS 2014-15

MUS 2541/5541 Mixed Wind Chamber Music

Instructor: Dr. Rebecca Rischin

Office/Telephone/Email: SOM--Room 588; 707-7061 (office/cell); (740)593-3482 (home);

[email protected]

Time and Place: Wednesdays 12:55-1:50pm Rm 561 and arranged

Course Description: Students enrolled chamber music will receive 55 min. of coaching per week for

their chamber ensemble. They will also rehearse at least one hour a week outside of coaching and will

prepare their parts individually. They will perform as an ensemble at least once per semester.

Learning Goal: To learn to collaborate effectively with other musicians in a small group setting.

Learning Outcomes:

Demonstrate good ensemble skills such as rhythm, blend and intonation.

Interpret music accurately, including rhythms, dynamics, and articulations.

Realize music creatively and determine an interpretation as an ensemble.

Demonstrate the aforementioned skills in the performance of music of many styles and time periods.

Course Outline: to be determined individually with instructor.

Required Materials:

Instruments in proper working order

Music, to be determined with instructor

A pencil

Expectations: Students should arrive to all sessions, dress rehearsals, and performances on time, with their music

prepared, their instrument, at least two working reeds if applicable, swab, cigarette paper if applicable, metronome,

and tuner, and a professional attitude. Chamber groups are expected to rehearse once before each coaching. If

requested, they must provide the coach with a copy of the score with numbered measures that correspond to

measures in the individual parts. Attendance in chamber music is crucial! Please make every effort to attend all

coachings. Coachings of chamber music cannot take place if anyone is absent. If a student is ill, has a family

emergency, or must be absent for a university event, he/she must call or e-mail the teacher in advance in order to be

excused. An unexcused absence will result in a grade of F for that coaching.

Auditing: Students who have too many credits but who would like to participate in chamber music anyway may do

so, Requirements are the same as for students taking the course for credit.

Grading:

Grading is based on attendance/punctuality, attitude, preparation, and participation. Below is a basic guideline:

To receive a grade of A, music must be meticulously prepared and musically executed; student should be attentive,

cooperative, open to constructive criticism, and respectful of others; student should have no unexcused absences and

arrive consistently on time. Two tardies or two extremely unprepared sessions, are equal to one unexcused absence

and will result in grade being lowered by one third of a letter (e.g., two tardies=A-; two tardies and one unexcused

absence=B+, etc.)

Music 2551: Percussion Ensemble


Spring Semester 2015 Director Roger Braun E-mail [email protected] Phone 740-597-1675 (O) / 740-591-0008 (Cell) / 740-249-2047 (H) Assistant Directors Ryan Harrison, Andrew Edelen Content/Objective The goal of this class is to develop individual and group percussion skills through the performance of percussion ensemble literature. The class will involve personal practice, rehearsals, and performance of this repertoire. Participation The group is open to any student at Ohio University by audition. The large ensemble

audition, audition for entrance into the music major, or an individual audition for the

director is required for participation. Students in the percussion ensemble must be well

rounded percussionists with strong abilities on mallets, timpani, and snare drum.

Any student who feels s/he may need an accommodation based on the impact of a

disability should contact me privately to discuss your specific needs. If you are not yet

registered as a student with a disability, please contact the Office of Disability Services. Grading I expect "A" work from all members of the ensemble because every individual's effort will affect the quality of the group. Poor attendance or participation will be detrimental to the ensemble as well as to your grade. It may also affect your ability to participate in percussion ensemble during future terms. I understand that some absences may be unavoidable. If you have a legitimate reason for your absence or lateness you must let me know in advance. You can always reach me via e-mail or answering machine, therefore any absence I do not know about ahead of time is considered unexcused (unless I decide that there are exceptional circumstances). Any unexcused absence will lower your grade. This course is subject to the Ohio University standards of academic conduct. (www.ohio.edu/communitystandards/academic/)

Music Bring pencils to all rehearsals and only mark your parts in pencil. You are responsible for your music and must pay for the replacement of any lost music. Practice When everyone comes to rehearsal prepared we all get to accomplish more. Please practice your music prior to each rehearsal so that we can focus on ensemble issues. Concerts The ensemble will perform at least one concert during each term. The concert and a

dress rehearsal is scheduled outside of class time. Your attendance and participation in

the dress rehearsal and concert is a requirement of the class.

Percussion Methods, Ohio University, Syllabus – Spring 2015 MUS 2630-, 1 Credit Hour, Room 101, RGH, 8:35am-9:30am MW Instructor’s Contact Information: Andy Edelen, Graduate Teaching Assistant Cell Phone/Voicemail: (270) 945-1195 Email: [email protected]

General Course Description: The purpose of this class is to prepare future music educators in the general area of percussion. Emphasis will be on teaching and performing in areas within the different percussion families. Students will learn how to incorporate these areas into middle school and high school percussion instruction.

Course Format: The class will consist of playing, demonstrations, lectures, discussions, observations, teaching and research.

Required Materials: Textbook: Teaching Percussion by Gary Cook, 3rd Ed with DVD Notebook or Binder: class note submission Keyboard Mallets: one pair Innovative Percussion Fundamental Series F2 Drumsticks: one pair Vic Firth American Custom SD1 Timpani Mallets: (optional, but recommended) pair of Vic Firth T1 General A practice pad will be provided for you

Course Objectives: By the end of the semester, a student should be able to: -Demonstrate correct knowledge in: a. Instrument set-up and care b. Grip, stroke and technique c. Appropriate stick knowledge for different percussion instruments d. Diverse tone color characteristics of each instrument -Teaching approaches to all ages/ability levels -Demonstrate sufficient playing ability on each instrument -Be able to identify problems and give constructive criticism to other student’s insufficiencies -Develop and expand knowledge of percussion repertoire

Attendance Policy: There is an allowance of two unexcused absences per semester. Each additional unexcused absence results in a lowering of the student’s grade by a half letter. Being tardy three times is equal to one unexcused absence. In order for an absence to be excused, the student needs to provide documented information for: illness or injury, approved school related activities, death in the family or a religious holiday. Missed exams will not be allowed to be made up unless excused by the instructor.

Plagiarism: Plagiarism of any sort is not tolerated by Ohio University; please refer to the Undergraduate Handbook for additional information.

Percussion Practice Room: Room 617-A. A key is in locker #193. Combination- 32-2-8

Grading Criteria:

The number of points earned will be divided by the total number possible and multiplied by 100 to equal the percentage for the course.

Example: 595 points earned / 640 possible points = .93 x 100 = 93% = A

Scale: 100-93 A 92-90 A- 89-87 B+ 86-83 B 82-80 B- 79-77 C+ 76-73 C 72-70 C- 69-67 D+ 66-63 D 62-60 D-

59-0 F

Playing Proficiency 1 30 points Playing Proficiency 2 30 points Playing Proficiency 3 30 points

Week 2 Reading Quiz 20 points Written Exam 1 50 points Written Exam 2 50 points Final Written Exam 100 points

Method Book Review 20 points Notebook 100 points Article Summary 20 points Concert Attendance Report 20 points

Concert Percussion Rehearsal 20 points Percussion Ensemble Arrangement 30 points Marching Project 30 points Teaching Episode 30 points

Participation/In Class Quizzes 60 points

Total Points possible 640 points

Final Exam Date: Wednesday, April 29, 2015 at 8:00 a.m., in Room 101 - Glidden Hall

*Failure to arrive to a scheduled Playing Proficiency Examination or Teaching Episode or failure to turn in a Notebook project will result in 10 point reduction from final score. *Failure to submit assignment on time will result in a letter grade reduction from the given assignment for each day late.

Accommodations: Any student who feels s/he may need an accommodation based on the impact of a disability should contact me privately to discuss your specific needs. If you are not yet registered as a student with a disability, please contact the Office of Disability Services.

Explanation of Course Procedures and Policies

Notebooks will be due on the day of each written exam. Notebooks should consist of concise summations of the assigned readings from the Cook Book, Roger Braun's Basic Concepts of Motion and any other assigned readings. Each entry should include a heading with the date, chapter and topic. Notebooks will also contain notes taken in class and should be marked with the date and topic. Please organize your Notebook with the class notes at the front of the book and reading notes at the back. This will allow for ease of evaluation for the instructor, and ease of future reference for the student. Final grades for the notebooks will be given at the end of the semester; until that point corrections can be made with no penalty. The final Notebook project will need to be typed and presented in a binder or folder. The complete Notebook will be due the week before finals.

If students have not already acquired a copy of the required text, they must do so immediately. If the student has ordered it and have not received it, they are to provide a receipt of purchase by the second class period (Wednesday, Jan. 14). Failure to do so will forfeit all of the student’s participation points. Books may be found at book store or ordered online. Steveweissmusic.com always has them in stock.

Readings are to be completed before the class period that they appear on the calendar in order to discuss them in class.

Playing exams and Teaching episodes will be scheduled to take place outside of class on an individual basis. The Teaching episode will occur at the end of the semester (or at least after the first unit) and the Playing Exams will occur during the week of the written exam.

In Class Quizzes will be given when appropriate; based on the needs of the class. Quizzes will be given one class period notice.

Practice pads are to be returned at the final playing exam. Failure to do so will result in a grade of Incomplete. Each practice pad is numbered in order to make sure the assigned practice pad remains with the assigned student.

Attendance of all Ohio University Percussion Ensemble concerts is required for the course. Attendance is proven only by submission of an official concert program, signed by the instructor (Andy Edelen). Failure to attend these concerts, and submit a program, will result in an unexcused absence. *If the student has an extenuating circumstance and cannot attend they must provide advanced notice of the absence and will be required to attend another percussion event in place of the missed one.* Options for makeup concerts include percussion recitals, Jazz Percussion Ensemble Concerts, and others approved by the instructor. Date and time of the concert is TBA.

Guidelines for the Marching Project, Concert Percussion Rehearsal, Teaching Episode, tests, Article Summary, Mallet Ensemble Arrangement, Method Book Review, and Concert Attendance Report will be given, no later than, 1 week prior to their due dates.

All supplemental written material for this course will be sent electronically to the students ohio.edu email account. All messages will be sent as replies to a message with the subject: Percussion Methods Spring 2015. Students will be required to print these handouts and bring them to class when indicated. Please send all emails as replies to this same message.

The use of laptops is permitted in class and all written assignments, including Notebooks, may be completed and submitted electronically. Misuse of laptops in class will result in forfeit of laptop privileges and all participation points.

*At the beginning of each class period all students are asked to assist in setting up the necessary instruments for the class.* Please make an attempt to arrive a few minutes early and expedite this process to ensure the productivity of our class time.

Additions and corrections to these guidelines will be sent to students via email.

*Next Page, Class and Reading Schedule*

Week Monday Wednesday1. Jan. 12, 14

Introduction, discuss syllabus, assign practice pads, basic concepts of motion, introduction to the Cook book

Reading: Pgs 1-37, Basic Concepts of Motion

2. Jan. 19, 21

Martin Luther King, Jr. Day holiday. No class

Reading: Pgs 37-79.

3. Jan. 26, 28

Reading: Pgs 425-454 (discuss Article Summary)

*Quiz* on reading and class discussions

4. Feb. 2, 4

Article Summary Due (discuss Method Book Review)

Reading: Chapter 3

5. Feb. 9, 11

Review for Written Exam 1 Method Book Review Due

Written Exam 1

6. Feb. 16, 18

Reading: Pgs 93-109, 157-175 Reading: Pgs109-127, 175-186

7. Feb. 23, 25

Reading: Pgs 127-133, 186-209 (discuss Perc. Ensemble Arrangements)

Reading: Pgs 133-146

8. Mar. 2, 4

Spring Break-------------------------------- No Class

9. Mar. 9, 11

Reading: Pgs 215-231 Reading: Pgs 231-237, 240-242

10. Mar. 16, 18

Reading: Pgs 237-240, 242-251 Percussion Ensemble Arrangements Due and Played

11. Mar. 23, 25

Review for Written Exam 2 Written Exam 2

12. Apr. 30, Mar.1

Reading: 329-377 (discuss Marching Project)

Reading: 377-425

13. Apr. 6, 8

Marching Project Due Reading: 294-307

Reading: 307-328

14. Apr. 13, 15

Reading: 253-275 (discuss Concert Percussion Rehearsal)

Reading: 275-289

15. Apr. 20, 22

Concert Percussion Rehearsal Review for Final Exam

Finals Week Wednesday, April 29th, at 8:00 a.m.


MUS 2635 Flute, Sax and Clarinet Methods and Materials FALL 2014

Course Syllabus for Clarinet Portion ONLY

Course Number: MUS 2635 Instructor: Rebecca Rischin/Calvin Yue

Call Number: 6652 Office: Rischin: 588/Yue: 620B

Class Time: MW 9:40-10:35am, Rm 561 Email: [email protected]

Phone: Rischin: (740)707-7061 [email protected] [email protected]

Yue: (541)852-2935

Prerequisite: Sophomore standing in Music Education or Music Therapy

Text: Enjoy Playing the Clarinet by Ruth Bonetti (to be purchased at bookstores)

Handouts to be Distributed in Class

Possible Additional Readings: (on reserve in the music library)

The Educator’s Guide to Teaching the Clarinet by Thomas Ridenour

Guide to Teaching Woodwinds by Frederic Westphal

Materials:

Clarinet, mouthpiece, ligature, swab, cork grease (provided by School of Music)

Three-ring binder

4 reeds and 1 reed guard (to be purchased by students at Blue Eagle, 40 N. Court St)

Course Objectives:

The primary objective of this segment of the course is to facilitate the teaching of the clarinet.

By the end of the term, students will be expected to:

a) Demonstrate adequate ability on the instrument in the following areas:

breathing/use of air; embouchure; posture/hand position; tone/intonation (including

proper tongue position); articulation; standard and chromatic fingerings

b) Demonstrate an understanding of the pedagogical approaches to all items listed in part

a and knowledge of problems encountered by the beginning clarinetist with possible

solutions

c) Demonstrate basic knowledge in the areas of: brief history; the clarinet family; reed

care; instruments, mouthpieces, and accessories; clarinet literature (method books, solos,

etc.)

Grading Policy:

The grade for the Clarinet portion of MUS 2635 will count for 33 1/3% of the final grade.

This 33 1/3% will be determined as follows:

Playing Exam #1: By appointment, week 3 of the class segment 10%

Playing Exam #2: By appointment, week 5 of the class segment 15%

Written Final: During the final exam period 35%

Peer Teaching: By appointment, week 4 of the class segment 10%

Final Notebook: Due at the final exam 20%

Daily Grades (participation, attendance, quizzes, in class playing) 10%

NOTE: Students who play clarinet as their principal instrument or who are already proficient at

playing it will receive written/oral assignments to substitute for the two playing exams in order

to make grading for the course fair and impartial.

Grades will be assessed by the following scale:

100-94 A

93-90 A-

89-87 B+

86-84 B

83-80 B-

Etc.

Attendance policy:

Attendance at each class is mandatory. Please notify the instructor in advance of any necessary

absences. The student assumes full responsibility for material covered during his or her absence.

Unexcused absences will result in daily grades of “0” and an excess of 3 absences will result in

the loss of a full letter grade of the final 33 1/3% grade. The accumulation of 3 tardies will result

in 1 unexcused absence.

Academic Dishonesty:

Students who violate the Ohio University Code of Student Ethics will be fully responsible for

their actions.

Course Schedule:

Below is the course schedule for the clarinet segment of this course. Assignments from the

Bonetti book will be given regularly. Below are the handouts which will be covered at each

session:

Session 1: Syllabus; Fingering Chart; Day 1 Lesson Plan; Assembly

Session 2: Breathing/Use of Air, Embouchure: Parts 1 and 2

Session 3: Posture/Hand Position; The Squeak; Articulation

Session 4: Articulation: “Talking on the Reed;” Instrument Care; Clarinet Care & Maintenance

Session 5: Intonation; Resonance Fingerings; Intonation Tendencies and Useful Fingerings

Session 6: More on Intonation; The Register Change; Finger Techniques for Tricky Passages

Session 7: A Brief Guide to Clarinet Reeds; Clarinets and Accessories; Selecting an

Elementary Band Method

Session 8: Playing in the Altissimo Register; OMEA List

Session 9: The Clarinet Family; Review

NOTE: Above schedule is subject to change. Please check your email so that you know when

you rotate to the section for the next instrument you will be studying.

Rotation Schedule:

Rotation 1: 8/25-9/24/14

Rotation 2: 9/29-10/27/14

Rotation 3: 11/3-12/4/14

There are 3 holidays/university events during the fall semester when class will not meet:

Mon, Sept 1, 2014 Labor Day

Wed, Oct 29, 2014 Hallapalooza

Wed, Nov 26, 2014 Thanksgiving Holiday

FINAL EXAM: Friday, December 12, 2014 at 8:00am Rm 494

IMPORTANT: Any student who misses the final exam without prior notice and without

sufficient justification shall receive a final grade of F for the clarinet segment of this course.

COURSE SYLLABUS CHORAL ARRANGINGMUSIC 3070 100CREDIT HOURS: 2

CLASS TIME: TO BE ARRANGED INSTRUCTOR: Dr. Daniel J. HallOFFICE: GLIDDEN 351CLASSRROOM: GLIDDEN 351TELEPHONE: 806-282-9729EMAIL: [email protected] HOURS: By appointment

COURSE DESCRIPTION AND GOALSHelp music students achieve introductory success in the field of choral arranging through exposure to a wide range of scores, recordings, styles, and techniques. By semester’s end, students should feel confident arranging for choirs in all basic configurations, both accompanied and unaccompanied. Undergraduate students will be required to complete one unaccompanied (midterm) and one accompanied (final) choral arrangement. In addition to the midterm and final, students will be assigned various arranging assignments according to their skill level and needs. Graduate students taking Choral Arranging as an elective will be required to complete a third arrangement requiring the use of at least one solo/obligato instrument. Instructor administers content through a combination of regularly scheduled in-class meetings and individual help sessions.

Undergraduate Grading: MIDTERM ARRANGEMENT = 45% of semester grade; FINAL ARRANGEMENT = 45% of semester grade; ADDITIONAL ASSIGNMENTS AND PARTICIPATION = 10% of semester grade. Graduate Grading: MIDTERM ARRANGEMENT = 30% of semester grade; ARRANGEMENT UTILIZING AT LEAST ONE OBLIGATO/SOLO INSTRUMENT = 30% of semester grade; FINAL ARRANGEMENT = 30% of semester grade; ADDITIONAL ASSIGNMENTS AND PARTICIPATION = 10% of semester grade.

PREREQUISITESMusic Theory

ATTENDANCE AND GRADINGAttendance is required, but The following exceptions MAY be considered on a case-to-case basis: Ohio University Institutional Excuses, i.e., participation in an OFFICIAL Ohio University program (NO GREEK HOUSES). A few examples: Marching 110, Debate, Sports Teams (not intramural), Official Class Field Trips, and University Related Conference Attendance. Institutional absences will be given consideration only if they are submitted in writing at least one week before the event. Hospitalization/extended illness will only be considered with written physician verification. Death in the immediate family or other such catastrophic events will be dealt with on an individual basis between the student and the director.

Attendance• Absence from a midterm or final exam, will result in failure of the course.• Chronic absences and lateness will not be tolerated and will result in dismissal.• Conflicts with the course calendar must be presented in writing to the instructor during the first full week of

class.• Do not schedule voice lessons, meetings with faculty members or other organizations, make-up classes or exams,

OU registration, doctor/dental appointments, job interviews, or any personal obligations during class. They will not be excused.

Work Ethic• Do you follow instructions and take notes?• Is your participation conducive or disruptive to the class?• Do you respond favorably to constructive criticism?• Do you bring your materials to every class?

Preparation Outside of Class: When assignments are given, are you prepared?

DISABILITY STATEMENT: Any student who suspects s/he may need an accommodation based on the impact of a disability should contact the class instructor privately to discuss the student’s specific needs and provide written documentation from the Office of Student Accessibility Services. If the student is not yet registered as a student with a disability, s/he should contact the Office of Student Accessibility Services.

That SinSyllabus for Applied Voice

Ohio University

MUS 340/540

Course Description:

Applied study of vocal performance techniques. The student will learn and prepare a variety of solo repertoire that will

educate him/her in various styles and periods of vocal music as well as develop a healthy singing technique.

Course Objectives:

1. To develop a sound technique for vocal performance with emphasis placed on proper body alignment, breath

control, diction/articulation, tone quality and interpretation.

2. To learn and develop effective methods of practicing and preparing vocal literature.

3. To study vocal literature in several different styles and languages.

4. To offer the student an opportunity to gain confidence through performances at Voice Lab recitals and Studio

Class.

Accommodation:

Any student who suspects she/he may need an accommodation based on the impact of a disability should contact the

class instructor privately to discuss the student’s specific needs and provide written documentation from the Office of

Student Accessibility Services. If the student is not yet registered as a student with a disability, she/he should contact

the Office of Student Accessibility Services.

Course Requirements:

1. Acquisition of assigned vocal repertoire. Students will be asked to purchase several music books over the

period of study. The Music Library and Ohio Link are also excellent sources. There are also several online sites

where you can purchase/download sheet music. IMSLP is a site where you can download music that is in the

public domain for free.

2. Attendance at all Lessons, Studio Classes and Voice Lab Recitals.

Each student is expected to attend a weekly lesson and Studio Class. Each student is allowed two

unexcused absences. After that, any unexcused absence will lower your final grade one letter grade.

(Example: B to B-) According to policy, only those lessons missed by the instructor can be made up

at times other than the regularly scheduled lesson time. Lessons cancelled by the student will NOT

be made up by the instructor. Colds, fatigue or laryngitis are not a legitimate excuse to miss a

lesson. If the student is well enough to attend other classes, attendance at your lesson is expected. If

you are too ill to come to your lesson, please bring a note from a doctor in order for your absence to

be excused. Excused absences will not negatively affect your grade. Sending me an email 15 minutes

before your lesson does not count as an excused absence. If your lesson falls on a holiday when the

University is closed, we will not make up that lesson and it will not adversely affect your grade.

3. Daily practice.

In order to improve, you need to practice every day. Performance majors should practice at least 90

minutes per day. This can include research, listening to recordings and translation work. Music

Applied Voice

MUS 3400/5400

Spring 2015

Debra Rentz 740-591-1373

371 Glidden Hall [email protected]

Office Hours: by appointment (please call, text or email me)


Education and Music Therapy majors should practice at least 45 minutes per day. Younger students can

break up practice time over the course of the day. You will not improve without practice, and I will

know if you are not practicing. Singing in an ensemble does not count as private practice time.

4. Thorough preparation for each lesson.

Students are expected to learn assigned music in a timely manner. Students must also meet weekly

with his/her accompanist. Music must be learned outside of the lesson! If you have not prepared

your music properly, you will be excused from your lesson.

5. Performance in Studio Class and Voice Lab Recitals and participation in discussion and commentary.

Students should consult the “Voice Division Repertoire and Jury Requirements” sheet for more

information regarding performances at Studio Classes, Voice Performance Labs, and Recitals. Students

should be prepared to offer positive, constructive criticism in Studio Class.

6. Attendance at ALL recitals of voice faculty, visiting artists, and students is expected for all students.

If you are unable to attend due to a class conflict, you need to let me know in advance. Work related

obligations are not a valid excuse.

7. Each student is required to fill out the repertoire information sheet for each assigned song every semester.

The Instructor will provide a form you can use as a template, or you can use your own format. If you

use your own format, you need to address each of the categories provided on the template. Forms are

due on Friday before Spring Break. Failure to turn in your repertoire information sheets, or turning

them in after the deadline, will negatively affect your grade by lowering your final grade one-letter

grade. (Example: B to B-)

8. Students will be assigned repertoire based upon the vocal department’s guidelines and the instructor’s

determination of his/her vocal needs.

9. All students are encouraged to record each of their lessons; students may use a personal recording device such

as a laptop, smart phone, MP3 recorder, etc.

10. All students should have a 3 ring binder where you keep your music and any notes you take during your lessons

or practice times.

11. Each student should secure an accompanist for his/her lesson. The accompanist is to attend the final 30

minutes of each lesson. The cost for the pianist is the responsibility of the student. An accompanist roster is

published each year by the piano division and will be made available to the students. Students should also

provide clean scores to their pianists in a timely fashion.

Grading:

Students will be graded on the following criteria:

1. Attendance and preparation for Lessons, Studio Classes, Master Classes, Voice Lab Recitals and any Student or

Faculty Voice Recitals.

2. Evidence of daily practice and improvement over the course of the semester.

3. Completion of Repertoire Information Sheets.

4. Juried Examination.

Grading Scale:

100-93=A 89-87=B+ 79-77=C+ 69-67=D below 60=F

92-90=A- 86-83=B 76-73=C 66-63=D

82-80=B- 72-70=C- 62-60=D-

Voice Juries:

All students enrolled in Applied Voice are required to perform a jury during finals week for both the fall and spring

semesters of study. Each faculty member will assign a jury grade and provide written comments on Blackboard.

Failure to sing a jury will result in a grade of F for the semester. The student’s jury grade is an average of the

faculty jury grades. Starting with the jury grade, then making any adjustments for unexcused absences and/or failure

to turn in the repertoire information sheets determine the student’s final grade. Attendance, preparation and

performance in studio class all affect your final grade. If you are unable to complete your jury due to illness, you will

receive a grade of Incomplete and sing a make-up jury within the first two weeks of the following semester.

Auditions and Performances:

Students should seek approval from the instructor for all public performances and auditions. Please consult with the

applied instructor before accepting any additional singing performances. I do not want to hear that you are singing the

lead in a musical the day before the performances.


Academic integrity and honesty are basic values of Ohio University. Students are expected to follow standards of

academic integrity and honesty. Academic misconduct is a violation of the Ohio University Student Code of Conduct

subject to a maximum sanction of disciplinary suspension or expulsion as well as a grade penalty in the course.

Additional Information:

Singing is a physical activity. Learning to sing often requires touching the teacher or the teacher touching the student.

If this makes you uncomfortable in any way, please let the instructor know immediately. In addition, be prepared to

try things and take chances. This is a safe environment and one where you can experiment with no fear. As musicians

and artists, we need to learn to “push the envelope” and do our best to communicate the music with the audience. We

also need to learn to give and to take constructive criticism. This is not always easy. Let’s show respect to one another

and learn and grow together. Bringing energy, a positive attitude and an open mind, and clear personal goals to each

lesson and studio class will contribute greatly to your progress!

This syllabus is subject to change

A few ideas for success in this course:

Learning the music correctly is just the first step in applied vocal study. You need to develop a method to learn your

music correctly on your own.

The faculty expects to see measured improvement in your singing technique each semester. The only way to

accomplish that is to practice! You should practice every single day. Build your practice time into your schedule.

If your song is in a foreign language, find a translation and study it before you bring that piece to your lesson. I don’t

want to work on a song if you have no idea what it is about. There are many, many resources online and in the library

that will help find a translation of your song. I assume that you have done this when you bring the song to your lesson.

If you don’t know how to practice effectively, let me know. I will give you some suggestions. Recording your lesson and

then warming up to the exercises on the recording is a great way to start your practice session.

Warm up before your lesson, and choir as well. Warm up early in the day, if possible. You will sing better all day.

Please record your lesson each week and then actually listen to the recording one time. Nobody likes to listen to

hem/herself sing, but it is important to do this. You will improve much more quickly just by doing this.

Realize that you cannot do everything! We all want to be involved in extracurricular activities and social events, and

that is an important part of life and your college experience, but be realistic about your time.

Consistency is the key to becoming a better singer. We will be working together until you have met your requirement

for applied voice. If you feel like we are not connecting or working well together, please talk to me. It will not hurt my

feelings. We can try to figure out a solution.

SCHOOL OF MUSIC

KEYBOARD DIVISION

PIANO SYLLABUS MUS 3410/5410

2015-2016 GRADING The instructor will record a weekly grade/evaluation of each lesson, based on the student’s preparedness and improvement. The weekly grades/ evaluations will serve as the basis for the semester’s final grade. Each teacher will provide students with his/her grading policies. PRACTICE SCHEDULE Students are expected to practice daily. Practice sessions should include time to explore, experiment and review musical and technical concepts. Good work habits and consistent, thoughtful, and focused practice are needed to achieve these goals:

Developing one’s technique to include a broad range of sounds, facility, and endurance.

Using analytical skills to inform musical interpretation.

Understanding of stylistic characteristics that represent good taste in interpretation.

Sharpening one’s listening abilities by recording and listening to live and recorded performances.

Minimum expectations for daily practice: Piano minors and secondary students: 1 hour a day. Piano principals: 2 hours a day. Piano majors: 4 hours a day. HEALTHY PRACTICING Taking short but regular breaks, stretching, keeping hydrated are a few ways to maintain focus and freshness for your practice sessions. Easing into your practice may help to prevent injuries. You are using muscles just as an athlete does. Posture and sitting at the correct height will prevent undue stress on your back, shoulders, arms, and hands. Talk to your teacher about establishing a healthy practicing routine. ATTENDANCE AND MAKE-UP LESSONS If ill and/or otherwise unable to attend a lesson, notify your instructor 24 hours in advance. If field trips or performances are scheduled that conflict with a lesson, please notify your instructor as far in advance as possible. Instructors will attempt to schedule make-up lessons for both situations listed above, as well as for any lesson missed by the instructor. Lessons cancelled due to lack of preparation may or may not be made up at the discretion of the instructor. MEMORIZATION Memorization is essential for any performing solo pianist. Piano performance majors are required to memorize their solo repertoire, except for contemporary works that use extended techniques. The faculty encourage all piano principals to memorize as well. For all other majors, the decision to memorize or not is left to the student and teacher.

JURIES Juries give you the opportunity to evaluate your progress. They also allow the faculty to assess your level of achievement in relation to your degree requirements. See jury requirements sheet for specific details. Piano juries will be held on Monday, December 7, 2015 and Monday, April 25, 2016. KEYBOARD ACTIVITIES These activities help to develop your musicianship and confidence as a performer and therefore, attendance is mandatory for all students enrolled in MUS 3410 and MUS 5410. Talk to your instructor if you have scheduling conflicts. See Keyboard Activities sheet for specific details. KEYBOARD PROFICIENCY EXAM Every student in the School of Music must take and pass the Keyboard Proficiency Exam. Music therapy and music education students must complete two components of the Keyboard Proficiency Exam before they will be given junior status. The exams are given at the end of each quarter. Check the class piano bulletin board on the 5th floor for the specific dates and times of the exams. Please see Dr. Christopher Fisher, Room 582, for further information. PERFORMANCE REQUIREMENTS FOR MUSIC EDUCATION AND MUSIC THERAPY MAJORS A reminder: all music education and music therapy majors are required to perform a minimum of four times in Performance Laboratory MUS 1090 (PL90), School of Music sanctioned solo or chamber music, or divisional recitals. Please see complete requirements under “Recital Performance Requirements and Regulations” in the undergraduate handbook. ORGAN & HARPSICHORD STUDY Students studying piano may also register for organ and/or harpsichord lessons. KEYBOARD FACULTY Rm. 591C: Dr. Paul Barte, Associate Professor of Organ Rm. 446: Gail Berenson, Professor Emerita of Piano Rm. 582 Dr. Christopher Fisher, Associate Professor of Piano; Chair, Keyboard Division Rm. 572: Dr. Youmee Kim, Assistant Professor of Piano Rm. 586 Dr. Sean Parsons, Visiting Assistant Professor of Jazz Studies and Theory

Spring 2015 Syllabus – Studio Oboe MUS 3490/5431 - 1-4 credit hours

Dr. Michele Fiala Glidden 584

[email protected] Cell: 270-303-0517 Office: 740-566-6440 Office hours by appointment

Course Description: Students enrolled in this class will participate in weekly private instruction in oboe, weekly reed-making classes, regularly-scheduled studio classes on Mondays at 12:55pm in room 303, and concerts (as both performers and audience-members).

Learning Goal: To perform as a skillful and unique musician through the oboe. Learning Outcomes:

o Demonstrate skills on the oboe, including good tone production, intonation, finger technique, and articulation.

o Interpret music accurately, including rhythms, dynamics, and articulations. o Identify phrases in music and plan the execution of them. o Interpret music creatively. o Demonstrate the aforementioned skills in the performance of music of many

styles and time periods and incorporate one's own unique musicianship. o Each of these outcomes will be assessed in weekly lessons, juries, and public solo,

chamber and large ensemble performances Course Outline: to be determined individually with instructor. Required Materials:

o An oboe in proper working order o A recording device and a high-quality microphone. A digital recorder (i.e.

compact flash, hard disk or minidisk recorder) is highly recommended, but a tape recorder or similar device is acceptable.

o Music, to be determined with instructor o A notebook, to be brought to each lesson o A pencil o A tuner that produces multiple tones or Frank Morelli’s Intonation CD

(www.morellibassoon.com) or The Tuning CD (http://www.thetuningcd.com) o A metronome that goes at least as slow as 20 beats per minute. The Johnathan

Parkes has the widest tempo range I have seen (available by calling 585-436-3215). Frozen Ape Tempo is an excellent and inexpensive app for smart phones.

An accompanist – Freelance accompanists such as Wendy Blackwood [email protected], Merewyn Brasington [email protected] or someone meeting the criteria of an

Accompanying Fellow on the Accompanist Roster published by Dr. Fisher. The first rehearsal with the accompanist must occur at least two weeks before the performance. One letter of the final grade will be lost for each week the student fails to rehearse with the accompanist.


http://www.morellibassoon.com/

http://www.thetuningcd.com/



o Reed-making equipment and other supplies recommended by professor o Required materials must be obtained and an accompanist scheduled

within the first three weeks of school. After that, one letter grade will be subtracted from the final grade for each week in which the student fails to obtain them.

Practice Log: Your practice log is the way I track your progress, see your practice habits and determine ways to help you. It is also an opportunity for you to keep track of your own progress and notate things that are helpful to you. The practice log is the equivalent of a written paper in another class. As such your log will count as 10% of your lesson grade. You will receive a “0” for any week in which you do not bring your practice log to your lesson or email it to Dr. Fiala before your lesson. Log requirements: 1. Keep your practice log in a notebook or binder set aside for only this purpose. 2. Write the starting and ending times of your practice sessions 3. Write which scales/etudes/pieces you practice and at which tempi. 4. At the end of your practice time each day, write:

a. One thing that you did well that day b. One thing that showed improvement c. One thing that reflected great effort d. Which piece(s)/etude(s) you recorded and listened to yourself that day e. The first thing you will address in your practicing the next day

5. Write down the sum total of your practice time at the end of the week, before coming to your lesson.

6. Write notes after each lesson about the topics covered and what to practice. Events: Attendance at all oboe events is required. Attendance comprises 10% of your

grade. Any missed event will result in a drop of 5% of your total grade (half of the attendance grade).

o Spring 2015 Required Oboe Events (subject to change with notice): March 21st Double Reed Extravaganza Kevin Reim Master’s Recital (TBA)

Public Performances: Each student enrolled in lessons for two to four hours of credit must perform a solo in a public performance at least once per semester without exception. The student is solely responsible for arranging this performance. Failure to fulfill this requirement results in a grade of zero for the performance (see Methods of Evaluation). Those enrolled for one hour of credit must perform a solo at least once per year.

Reedmaking Class: Participation in a minimum of nine reed-making classes per semester is required for all students who are enrolled for two to four credit hours. The student’s semester grade will be dropped by one letter for each reed-making class fewer than nine in which he/she participates. In order to receive full credit for the reedmaking portion of the class, each student must make a minimum of three reeds per week.

Literature requirement: To be considered for an "A," students must pass the etudes, orchestral and solo literature determined with the professor at the beginning of the semester. The amount of repertoire will differ according to degree programs and

course credit for lessons. Students must also pass a scale exam given during the semester in studio class time. Weekly scale grades will be factored into the lesson grade.

Practice Time: Practice is essential to improving one’s musicianship. In order to accomplish the literature and musicianship goals set each semester, students taking two hours of lesson credit will need to practice at least ten hours per week and those enrolled for three or four credits will need to practice a minimum of fifteen hours a week. Each non-major student enrolled in lessons for one credit hour should practice at least three hours per week.

Attendance Policy: Attendance is mandatory at all lessons and is the basis of grading. If a student needs to miss a lesson, he or she must notify the instructor at least 24 hours in advance. A makeup lesson will be arranged if possible. If the student misses a lesson without notifying the instructor in advance or the absence is unexcused, he or she will receive a 0 grade for that lesson.

Juries: Refer to the “Woodwind Division Jury Requirements” document to see what you will be responsible for at each progressive jury.

Be thoroughly warmed up and ready to play at your lesson time. A continuing habit of not being warmed up will negatively affect the final grade.

Methods of Evaluation: grading will be based upon the student’s performance in lessons, and in public recitals or juries if applicable. Each lesson will receive a grade in the form of a number; the grading scale follows:

12=A+ 5 = C 11=A 4 = C- 10=A- 3 = D+ 9 = B+ 2 = D 8 = B 1 = D- 7 = B- 0 = F 6 = C+ Grading: Weekly lesson grades: 55% Jury: 15% Practice Log: 10% Quantity/Quality of Reedmaking: 10% Attendance at Oboe Events 10% Public Performance: 10%

SYLLABUS

MUS 3510/5432 Applied Clarinet: Private Lessons and Studio Class

2014-15

Instructor: Dr. Rebecca Rischin

Office/Telephone/E-mail: SOM Room 588; 707-7061 (office/cell); 593-3482 (home); [email protected]

Times: Lessons arranged; Studio Class on Mondays 12:55-1:50pm. Please check your e-mail and my door

regularly for changes and updates.

Place: School of Music - Lessons: Room 588; Studio Class: Room 540

Purpose of the Course: To help the student become the best clarinetist and musician that he or she can be.

Teaching material used and repertoire assigned will be tailored to the needs of each individual student and may

address the following subjects: embouchure, tone, finger technique/hand position, articulation/tongue position,

rhythm, intonation, general musicianship/musicality, interpretation of selected musical styles, and reed and

instrument care.

Expectations of the Student: Consistent practicing and reed maintenance, a positive attitude, and respect for

yourself, your professor, and your fellow students are expected. Students should frequently check their e-mail and

my door for announcements, changes in schedule, etc. A complete schedule will be emailed to you by the end of

each week. Practice time varies according to the needs of each individual student, but the following may serve as a

general daily guideline: 1) Music majors: ninety minutes; 2) Performance majors: two to three hours; 4) Non-

majors: forty-five minutes.

Required Materials:

1) Books and Music: As requested, to be ordered from selected music dealers (see last page).

2) Clarinet: Wooden instrument and reeds in top working condition. Crucial repairs should be taken care of

immediately. Repair technician info TBA. Some students may also be required to buy a new mouthpiece or

ligature. If you need to purchase anything, please see me so that we can do this together to be sure that you get the

best product for your money.

3) Accessories: Swab, cigarette paper, cork grease, tuner with sounding pitch capability, metronome, recording

device, reeds, reed guards (brands to be recommended). See last page for purchase information. These

accessories, in addition to all your reeds, including the one you’re playing on, must be brought to each lesson. You

must have at least 20 reeds in circulation at a time.

4) Notebook and Pencil to be brought to each lesson in order to write down assignments.

Studio Class: Studio class will be held on Mondays from 12:55-1:50pm in Rm 540. Attendance, promptness, and

a positive attitude are required of graduate students and undergraduate music majors taking lessons. The purpose

is to 1) give students experience in playing in public in preparation for future performances; 2) help students learn

from one another; 3) address matters that require special emphasis; 4) foster the development of pedagogical skills;

and 5) develop a spirit of camaraderie. Some students may be required to perform solos. Other activities will vary.

Juries: One jury every semester, consisting of repertoire determined by the teacher, are required of undergraduates

until requirements are complete. Graduate students are required to jury in the fall semester of their first year.

Nonmajors or students who have completed their jury requirements studying for the entire academic year must jury

once. Please stay apprised of woodwind requirements and jury announcements on the woodwind bulletin board.

Performances: All undergraduate performance majors must enroll for and present at least a half-recital during the

junior year and a full recital during the senior year. Graduate performance majors must present at least one full

recital during the second year. Music education and music therapy majors must perform at least four times during

their college career in Performance Laboratory 90 or department recitals; two of these performances may be in

chamber groups. A half-recital counts toward three PL performances.

Lesson Repertoire/Agenda: Assignments will be based on students' individual strengths and weaknesses in order

to develop all aspects of technique and musicianship. Students are encouraged to take an active role in selecting

repertoire and in setting their goals for the quarter. However, the teacher will exercise the right to make the final

decision regarding repertoire selection, etc. ALL LESSONS MUST BE RECORDED (see Required Materials: #3)

Ensemble Music: Students with solos in the ensembles are required to bring this music to lessons for coaching.

All are encouraged to bring their music to lessons for help and to implement what they have learned at their lessons.

Accompanists: The teacher will furnish students with a list of recommended accompanists; however, it is the

student's responsibility to 1) obtain an accompanist by the appointed deadline, 2) arrange the rehearsals, 3) remind

the accompanist of lesson times, and 4) pay him/her if required.

Listening: It is expected that when preparing a solo piece or excerpt, the student will listen to a recording, if

available, in advance. Listening to recordings of professional clarinetists, in addition to attending live performances,

is extremely important for developing a sense of tone, phrasing, and solid technique. If you would like a recording

or piece that the music library does not currently own, please send me an e-mail and I will forward the request to

the library. I also encourage you to purchase classical CD’s to build your own personal collection and to support

our professional music industry.

Lesson Policy: Students should arrive on time, warmed-up, prepared to play assignments, with the instrument

assembled and one of their best reeds in place. Please bring music, swab, cigarette paper, metronome, tuner,

notebook, pencil, and all your reeds. Any student who misses a lesson without prior notice (via e-mail or phone) will

receive a grade of F for that lesson. An exception will be made if a doctor’s note or prescription is provided.

Make-up Lessons: All students will receive a total of 14 lessons per semester. Lessons missed by the teacher will

be re-scheduled. Lessons missed due to university-sponsored activities must be arranged in advance to be made-up.

Students are allowed 2 makeup lessons a semester due to illness or family emergency. Lessons missed beyond these

2 will not be made up. (University-sponsored activities that are arranged in advance do not count among these 2).

For all missed lessons, the teacher must be notified in advance either by e-mail or phone. Lessons missed without

24-hour prior notification may not be able to be made up. If you are the first scheduled lesson of the day and you

need to cancel, please do me the courtesy of calling me at home. Conversely, if your lesson is later in the day,

please call my cell number or send me an email.

Attendance at Clarinet Events & Departmentals: Attendance at all visiting artist events, clarinet galas,

woodwind departmentals, faculty and student clarinet recitals is required. Some students may be selected to perform

at master classes given by visiting artists. Grades for attendance at and participation in these events will be factored

into the "lessons" category (see below) and will count 10% toward the lesson grade. If you have a conflict with one

of these events, please inform me in advance. An unexcused absence will lower this component’s grade by one-

third of a letter.

Jury Run-Thrus: Please reserve the last two weekends of classes for our jury run-thru and avoid scheduling other

events during this time. The jury run-thru performance counts as two lesson grades. Attendance counts for one

lesson grade. A missed performance lowers the lesson grade by one-third of a letter. In addition, you must stay for

all the performances unless you inform me in advance of a conflict. If you do not stay for the entire time and do not

inform me in advance, this part of the lesson grade will be lowered by a third of a letter.

Scale Midterm: All students who have not yet satisfied the applied requirements for their respective major are

required to do a scale midterm. The date of this midterm will be given during the first few studio classes. Grading

is Pass/Fail. Students who fail the scale midterm will be required to do their scales again at the jury. Criteria for

the midterm are: accuracy, speed, evenness, and quality of tone and articulation.

Grading:

The final grade will be determined from the average of the grades in the: lessons (60%), studio class (10%), and jury

(30%). Lessons count for 90% of the final grade for students not doing a jury. A degree recital hearing and recital

together count for 30% of the lesson grade; a non-degree hearing and recital together count for 20% of the lesson

grade. Students may review their grades at anytime.

Studio Class Grading: Grading for studio class is based on attendance, attitude, participation and performance. To

receive a grade of A, students should be attentive, cooperative, and respectful of others; have no unexcused

absences; arrive consistently on time; and be prepared for their performances. Two tardies, an unprepared

performance, or a generally negative or disrespectful attitude is equal to one unexcused absence and will result in

grade being lowered by one-third of a letter (e.g., two tardies=A-; two tardies and one unexcused absence=B+, etc.)

Students performing must provide copies of their music for the class. Failure to provide these copies will result in

the studio class grade lowered by one-third of a letter. A missed performance without prior notice will result in the

studio grade lowered by a full letter. Students who have a conflict with studio must contact me in advance in order

to be excused.

Jury, Recital, and Recital Hearing Grading: Grading for juries, recitals, and recital hearings is on a pass/fail

basis, a C constituting the minimum passing grade, and is decided by a committee comprised of members of the

woodwind division. Criteria are: preparation, presentation, tone, pitch, rhythm, cleanliness of finger technique and

articulation, musicality, difficulty level of selections performed, and overall improvement. In addition, there are

specific requirements for certain levels (please be sure to consult the woodwind bulletin board for information).

Lesson Grading: Grading for lessons is based on performance preparation, attendance and attitude. The two most

important criteria for grading of the lessons are a cooperative attitude and consistent weekly improvement achieved

through diligent practicing and application of principles addressed at the lessons. Other criteria are as follows:

Grade in A range: Student obtains requested materials promptly; assignments are meticulously prepared and

musically executed; student is performing at or ahead of chronological level; problems encountered in previous

lessons are significantly reduced; student is attentive, cooperative and open to constructive criticism; student has no

unexcused absences and arrives consistently on time with required materials.

Grade in B range: Student obtains requested materials promptly; assignments are adequately prepared and

satisfactorily executed; student is at or slightly below chronological level; student shows evidence of having

attempted to solve problems encountered at previous lessons; student is attentive and frequently cooperative; student

is usually on time with required materials and has no unexcused absences.

Grade in C range: Student does not obtain materials promptly; assignments are only partially prepared and

unsatisfactorily executed; student is below chronological level; student shows partial evidence of having attempted

to solve problems encountered in previous lessons; student is apathetic to instruction; student is frequently late and

misses lessons without prior notice.

Grade in D range: Student does not obtain materials promptly; assignments are largely unprepared; student is

severely below chronological level; student shows little or no evidence of having attempted to solve problems

encountered at previous lessons; student is resistant to instruction; student is frequently late and misses lessons

without prior notice.

Dealers of Music/Instruments/Accessories and Instrument Repair

Call for billing info/directions/appointments/free catalogs, etc.

Consult teacher for recommendations of brands, models, makes, editions, etc.

MUSIC

Stanton's Music - Columbus, OH 1-800-42-MUSIC www.stanton’s.com

Luyben Music - Kansas City, MO 1-800-2-LUYBEN; (816)753-7111 www.luybenmusic.com

Brodt's Music - Charlotte, NC 1-800-438-4129 www.brodtmusic.com

Van Cott Music – Las Vegas, NV (702)438-2102 www.vcisinc.com

INSTRUMENTS/ACCESSORIES

Frederick Weiner Woodwinds - New Hyde Park, NY 1-800-622-2675 www.weinermusic.com

The Woodwind and the Brasswind - South Bend, IN 1-800-348-5003 www.wwbw.com

Muncy Woodwinds - Boone, NC 1-800-333-6415; (704)963-7083 www.muncywinds.com

Jeanné Woodwinds (accessories only) - 1-800-831-7691 www.jeanne-inc.com

REPAIR

Small repairs: TBA

Tim Clark Woodwinds (major crack repairs and overhauls) - Powell, OH (614)846-4888 [email protected]


Spring Semester, 2015 Course Syllabus; MUS 3530

Title: Trumpet (Applied trumpet lessons), 1-4 hours credit

Instructor: John Schlabach Phone: (740) 707-2154

E-mail: [email protected]

Meeting times & location: Individual lessons are arranged. All lessons for majors are in studio

383, once per week except for freshmen, who study every other week with a graduate assistant.

Additionally, all students are expected to register for Trumpet Ensemble/studio class.

Purpose and objectives: To provide the specific means for each trumpet player to improve his/her

basic applied skills, techniques, and musicianship in preparation for a career in music. Players must

satisfy the requirements of their degree program by successfully passing qualifying juries, which will

result in advancing through the applied levels (freshman through senior). Other requirements such as

performances in studio class, performance labs, hearings and recitals vary depending on degree

program, proficiency level, and student initiative. Please see student handbook policies reprinted

under "other" on the reverse side of this syllabus.

Required materials: A professional quality trumpet in excellent working condition is necessary.

The Arban's Method, Clarke Technical Studies, Irons 27 Groups of Exercises, and Thompson's

Buzzing Book are required. Other method books, etude books, solo repertoire, etc. will be assigned

as needed on an individual basis for the student to purchase. A metronome is also required.

Grading procedures: The final grade will be based on the following (plus see “other,” below):

a. Average of weekly lesson grades based on preparation of all assigned materials and general

attitude (75% of final grade)

b. Jury grade. Juries consist of prepared works and scales/arpeggios. Frequency of juries and

content will be assigned for each student depending upon major and applied level. A minimum of

two juries a year is required, but a student may be required to perform a jury for any particular

quarter. Juries will be graded (25% of final grade).

c. Literature requirement. To be considered for an "A" students must pass a number of lyrical and

technical etudes (or comparable orchestral or solo literature). Different degree programs and lesson

hour credit will dictate how many etudes must be passed; this will be determined at the beginning of

the quarter with each student. Also, one solo work must be performed in recital or studio class each

quarter (with exceptions at instructor's discretion). Students will also occasionally perform assigned

etudes or excerpts in studio class.

d. Scale/arpeggio exams. In the middle and at the end of each semester a scale and arpeggio exam

will be given during lesson time. Each graded scale exam will be equivalent to one weekly lesson

grade.

Attendance policy: A lesson that is missed due to a university function or sickness will be

rearranged if the instructor is informed prior to the lesson time (in case of an emergency, notify me

as soon as possible). Unexcused lesson absences will not be made up, and will lower the final grade.

Generally, at minimum the second unexcused absence will lower the final grade by 1 letter, the third

absence 2 letters, etc. I will contact you in advance if I need to rearrange your lesson for any reason.

Please feel free to contact me at school or at home.

Disability statement: Any student who suspects s/he may need an accommodation based on the

impact of a disability should contact the class instructor privately to discuss the student’s specific

needs and provide written documentation from the Office of Student Accessibility Services. If the

student is not yet registered as a student with a disability, s/he should contact the Office of Student

Accessibility Services.

Other:

1. Each student will have secured an accompanist for his or her jury and studio class recital

performance by the Monday after spring break, March 9. I must hear each student with accompanist

in a lesson or extra rehearsal at least once by his or her lesson in the last week of classes. Failure to

follow either of these conditions will lower the final grade by one letter.

2. Each student will submit a reflective statement, 1 page, after lessons – due before his or her next

lesson. A total of 8 of these statements for the semester are required to be considered for an “A.”

3. Trumpet students are expected to enroll in trumpet ensemble to supplement the lesson and studio

class experiences unless there is an unavoidable class conflict.

4. Clinics, master classes, or guest trumpet performances may be arranged during the year outside of

studio class time which would require your attendance and/or participation. Trumpet students are

expected to attend all recitals in which there is a solo trumpet performance. Please inform me in

advance if there is a legitimate conflict that would prevent you from attending.

5. Be thoroughly warmed up and ready to play at your lesson time. A continuing habit of not being

warmed up will negatively affect the final grade.

Refer to related School of Music Undergraduate Handbook policies for degree specific performance

and recital requirements.

All performance majors must enroll for and present the minimum of a half-recital (one hour credit)

during the junior year and a full recital (two hours credit) the senior year.

Students presenting an elective recital may enroll for one hour credit.

Students majoring in music education are required to perform a minimum of four times in Performance

Laboratory 090 (PL 90), School of Music sanctioned solo or chamber music recitals, or divisional recitals.

Divisions are the entire applied studios of the voice, keyboard, string, woodwind, or brass and percussion

areas. Two of these performances may be in a small ensemble, where suitable to the performance medium

and the other two must be solo performances. Performances within large, like-instrument ensembles, such

as Clarinet Choir or Trumpet Ensemble do not count towards the performance requirement. The applied

instructor will decide if a performance counts towards the performance requirement. Music education

students may elect to present a half-recital. This option may be substituted for three of the four PL 90

appearances.

A student must be enrolled in applied music and have the approval of the instructor to present a

recital. [All recitals will require a hearing before public performance is allowed.]

Italian Diction for Singers

MUS 375B/575B Course #05324/05445

Textbooks: International Phonetic Alphabet for Singers, Joan Wall

Italian Lyric Diction Workbook, Third Edition, Cheri Montgomery

(Be sure you get the third edition and the closed [e] vowel edition)

These textbooks are required!

Supplementary Texts: (not required to purchase)

A Pronouncing Dictionary of American English, John S. Kenyon and Thomas A. Knott

A Handbook of Diction for Singers, David Adams

Course Objectives:

The objective of the first half of this course is to use the English language as an approach to learning IPA. This course will focus on acquiring skills to correctly identify and produce both the symbols of IPA as well as the sounds they represent. This knowledge will then be applied in the second half of this course as we study the rules for Italian diction for singers.

Attendance:

It is very important that the student be in class as much as possible. This course is based on hearing, learning, and verbalizing phonetic sounds. Students must participate in class in order to succeed in homework assignments and exams. We cover a lot of material in each class. There will be very little time to review the material, except where indicated in the syllabus.

If you know you will be absent for a class, please let me know as soon as possible. Make-‐up work for an excused absence should be done as soon as possible so the student does not fall behind. If you miss class it is your responsibility to learn the material covered in class. Please contact me if you need to review the material. An excused absence is a school function, illness with a note from a doctor, family emergency…) Please note, if

English and Italian Diction for Singers

MUS 3750/5750 Sections 100

Fall 2015

Tuesday and Thursday 3:05 – 4:00 550 Glidden Hall

Prof. Debra Rentz 740-‐591-‐1373


Office Hours: By appointment (please email, text or call me)

you are ill enough to miss class, you need to bring a doctor’s note in order for you absence to be excused. After two unexcused absences, the student’s final grade will be lowered by one grade level for each class missed. (Example: B+ to B, B to B-‐)

Accommodation:

Any student who suspects she/he may need an accommodation based on the impact of a disability should contact the class instructor privately to discuss the student’s specific needs and provide written documentation from the Office of Student Accessibility Services. If the student is not yet registered as a student with a disability, she/he should contact the Office of Student Accessibility Services.


Academic integrity and honesty are basic values of Ohio University. Students are expected to follow standards of academic integrity and honesty. Academic misconduct is a violation of the Ohio University Student Code of Conduct subject to a maximum sanction of disciplinary suspension or expulsion as well as a grade penalty in the course.

Graduate Level Work, Additional Expectations

There is an expectation that graduate students will display a greater depth of knowledge than the undergraduate students in class discussion, class performances and the song transcriptions. Graduate assignments and performances will be graded according to this higher standard. Graduate students are also required to do 4 additional song transcriptions. Graduate students will turn in IPA transcriptions and translations for a total of 6 songs or arias, 3 in English and 3 in Italian. These pieces must be approved by Prof. Rentz and will be worth 600 points.

Grading:

Class Performances – 200 points

Song Transcriptions of songs performed in class – 200 points

Homework Assignments – 1456 points

Quizzes – 200 points

Final Exams – 400 points

Graduate Student Song Transcriptions – 600 points

There are a total of 2456 points for the entire semester for undergraduates and 3056 for graduate students. Your grade will be averaged against this total. It is very important that you turn in your homework.

Grading Scale:

100-‐93=A 86-‐83=B 69-‐67=D+ Below 60=F

92-‐90=A-‐ 82-‐80=B-‐ 66-‐63=D

89-‐87=B+ 79-‐77=C+ 62-‐60=D-‐

Homework and Quizzes:

Homework will be assigned at the end of each class and is due at the beginning of the next class meeting. Homework that is turned in late will be lowered by 10 points for each day that it is late. No Exceptions. This means if you turn in your homework after the class period, it is late. Homework more than 5 days late will not be accepted. If you miss class due to an excused absence, your homework is still due on time. You can scan and email it to me, or leave it on my door. The homework is very important in learning the material and being prepared for quizzes and exams, so it is imperative that you complete the homework assignments and turn them in on time.

Pop-‐quizzes will be given on a regular basis and will be either written or oral. If you miss a quiz due to an unexcused absence you will not be able to make up the quiz. Excused absences will be given a make-‐up quiz.

Oral quizzes will be given frequently to assess each student’s ability to reproduce orally the material we have covered in class up to that point.

Class Performances:

Each student will perform two songs in class. One in English, one in Italian. Prof. Rentz will assign the pieces. The student must provide a full IPA transcription of the text that he/she is singing, which should be typed, with the IPA written in the lines between the texts. The repertoire chosen must be at least two pages in length.

Exams:

The final exam for the English portion will be on Thursday, October 1st during class. The final exam for Italian is scheduled Thursday, December 10th from 12:20 to 2:20 – This exam will cover all the rules of Italian and Latin diction. There will be a written and an oral component to this exam.


Class Schedule:

Tuesday 8/25 Introduction, Cover syllabus, Chapters 1, 2, and 3

Thursday 8/27 Chapter 4, the forward vowels

Tuesday 9/1 Chapter 4, the forward vowels

Thursday 9/3 Chapter 5, the back vowels

Tuesday 9/8 Chapter 5, the back vowels

Thursday 9/10 Chapter 6, the central vowels

Tuesday 9/15 Chapter 7, diphthongs

Thursday 9/17 Quiz on vowels. Chapter 8, consonants

Chapter 9, stop-‐plosives

Tuesday 9/22 Chapter 10, nasal consonants

Thursday 9/24 Chapter 11, fricative consonants

Tuesday 9/29 Chapter 12, the lateral consonant

Chapter 13 glides

Chapter 14, combination consonants

Thursday 10/1 Review for final, Class Performances

Tuesday 10/6 Final Exam English

Thursday 10/8 ITALIAN -‐ Unit 1, characteristics of the Italian language, listen to recordings

Tuesday 10/13 Unit 2, Dental consonants, closed front [i], semiconsonant [j] and [r]

Thursday 10/15 Unit 3, closed front [e], open front [Ɛ], plosive consonants and s

Tuesday 10/20 Unit 4, double consonants, closed back [o], open back [Ɔ], silent h and truncation (practice quiz, units 1 – 3)

Thursday 10/22 Unit 5, closed back [u], semiconsinant [w], z and division of syllables

Tuesday 10/27 Review units 2 – 5 (practice quiz)

Thursday 10/29 Unit 6, bright front [a], velar nasal [ŋ], prepalatal nasal [ɲ] and prepalatal lateral need symbol online

Tuesday 11/3 Unit 7, pronunciation and transcription of c, g, and sc and frequently occurring words

Thursday 11/5 Review units 6 – 7 (practice quiz)

Tuesday 11/10 Unit 8, syllabic vowel within the phrase, phrasal diphthongs

Thursday 11/12 Opera Scenes Performance, NO CLASS

Tuesday 11/17 Unit 9, syllabic vowel within the phrase, monosyllables, phrasal triphthongs and double diphthongs

Thursday 11/19 Unit 10, Phrasal Doubling and Review

Tuesday 11/24 Latin

Thursday 11/26 Thanksgiving, NO CLASS

Tuesday 12/1 Latin, Class performances

Thursday 12/3 Review, Class performances

Final Exam Scheduled Thursday, December 10th at 12:20 PM

Italian Diction for Singers

MUS 375B/575B Course #05324/05445

Textbooks:

German Lyric Diction Workbook, Third Edition, Cheri Montgomery

French Lyric Diction Workbook, Third Edition, Cheri Montgomery

These textbooks are required!

Supplementary Texts: (not required to purchase, but recommended)

German for Singers, William Odom

A Handbook of Diction for Singers, David Adams

Course Objectives:

The objective of this course is to use the International Phonetic Alphabet to transcribe words in German and French, using the rules of diction that we will cover in class. In addition, we will learn to pronounce both German and French, paying close attention to how the rules of German and French diction and the concepts of lyric diction can help us in performance.

Attendance:

It is very important that the student be in class as much as possible. This course is based on hearing, learning, and verbalizing phonetic sounds. Students must participate in class in order to succeed in homework assignments and exams. We cover a lot of material in each class. There will be very little time to review the material, except where indicated in the syllabus.

If you know you will be absent for a class, please let me know as soon as possible. Make-‐up work for an excused absence should be done as soon as possible so the student does not fall behind. If you miss class it is your responsibility to learn the material covered in class. Please contact me if you need to review the material. An excused absence is a school function, illness with a note from a doctor, family emergency…) Please note, if

French and German Diction for Singers

MUS 3753/5753 Sections 100

Spring 2016

Monday and Wednesday 2:00 to 2:55 550 Glidden Hal

Prof. Debra Rentz 740-‐591-‐1373


Office Hours: By appointment (please email, text or call me)

you are ill enough to miss class, you need to bring a doctor’s note in order for you absence to be excused. After two unexcused absences, the student’s final grade will be lowered by one grade level for each class missed. (Example: B+ to B, B to B-‐)

Accommodation:





There is an expectation that graduate students will display a greater depth of knowledge than the undergraduate students in class discussion, class performances and the song transcriptions. Graduate assignments and performances will be graded according to this higher standard. Graduate students are also required to do 4 additional song transcriptions. Graduate students will turn in IPA transcriptions and translations for a total of 6 songs or arias, 3 in German and 3 in French. These pieces must be approved by Prof. Rentz and will be worth 600 points.

Grading:

Class Performances – 200 points

Undergraduate Song Transcriptions of songs performed in class – 200 points

Graduate Student Song Transcriptions – 600 points

Homework Assignments – 1456 points

Quizzes – 200 points

Final Exams – 400 points

There are a total of 2456 points for the entire semester for undergraduates and 3056 for graduate students. Your grade will be averaged against this total. It is very important that you turn in your homework on time.

Grading Scale:

100-‐93=A 86-‐83=B 69-‐67=D+ Below 60=F

92-‐90=A-‐ 82-‐80=B-‐ 66-‐63=D

89-‐87=B+ 79-‐77=C+ 62-‐60=D-‐

Homework and Quizzes:

Homework will be assigned at the end of each class and is due at the beginning of the next class meeting. Homework that is turned in late will be lowered by 10 points for each day that it is late. No Exceptions. This means if you turn in your homework after the class period, it is late. Homework more than 5 days late will not be accepted. If you miss class due to an excused absence, your homework is still due on time. You can scan and email it to me, or leave it on my door. The homework is very important in learning the material and being prepared for quizzes and exams, so it is imperative that you complete the homework assignments and turn them in on time.

Pop-‐quizzes will be given on a regular basis and will be either written or oral. If you miss a quiz due to an unexcused absence you will not be able to make up the quiz. Excused absences will be given a make-‐up quiz.

Oral quizzes will be given frequently to assess each student’s ability to reproduce orally the material we have covered in class up to that point.

Class Performances:

Each student will perform two songs in class. One in German, one in French. Prof. Rentz will assign the pieces. The student must provide a word-‐byword translation and a full IPA transcription of the text that he/she is singing. The song text should be typed, with the IPA written in the lines between the texts. The repertoire chosen must be at least two pages in length.

Exams:

The final exam for the German portion will be on XXXXXXXXXXX during class. The final exam for French is scheduled Monday, April 25th at 12:20 PM –There will be a written and an oral component to this exam.


Class Schedule:

Monday 1/11 Introduction, Cover syllabus, Units 1, 2 and 3

Wednesday 1/13 Unit 4

Monday 1/18 Martin Luther King Jr. Day, University Closed


Monday 1/25 Units 6 and 7


Monday 2/1 Unit 9

Wednesday 2/3 Units 10 and 11

Monday 2/8 Units 12, 13, 14, 15

Wednesday 2/10 Compound words and unvoicing

Monday 2/15 Auditions -‐

Wednesday 2/17 German Final Exam

Monday 2/22 French Units 1 and 2


Monday 2/29 SPRING BREAK

Wednesday 3/2 SPRING BREAK


Wednesday 3/9 Unit7 and review


Wednesday 3/16 Quiz on 1 – 9

Units 10 and 11

Monday 3/21 NO CLASS




Monday 4/4 Practice Quiz



Wednesday 4/13 Review

Monday 4/18 Class Performances and Song Transcriptions Due

Wednesday 4/20

Final Exam Scheduled Monday, April 25th at 12:20 PM

Keyboard Repertoire I, MUS 4570/5570


Fall Semester, 2015

Wednesday 2:00-‐4:00 pm, Room 572

Professor: Dr. Youmee Kim

Email) [email protected]

Course Description:

A survey of early keyboard and piano repertoire and performance styles from approximately 1600-‐1850. There will be group project and performances. Graduate students will do an additional research assignment.

Require Text:

Gordon, Stewart. “A History of Keyboard Literature,” Wadsworth (Schirmer), 1996

Other texts used for the course:

“Eighteenth-‐Century Keyboard Music,” Routledge, 2003

“Five Centuries of Keyboard Music,” John Gillespie, Dover, 1972

“Guide to the Pianist’s Repertoire,” Maurice Hinson, Indiana University Press, 1973

“Nineteenth-‐Century Piano Music,” L Larry Todd, Routledge, 2nd ed. 2004

“Style and Interpretation,” Vols. 1 and 2, Howard Gerbuson, Oxford University Press, 1980

“The True Art of Playing Keyboard Instruments,” CPE Bach, Norton, 1948

“The Fitzwilliam Virginal Book,” Vols. 1 and 2, Dover, 1963

“The Art of Playing the Harpsichord,” Francois Couperin, Breitkopf and Hartel

“Nineteenth-‐Century Keyboard Music,” L Larry Todd, Routledge, 2nd ed., 2004.

Undergraduate Level Work:

1) Group project

2) One piece (Bach OR Chopin) to play in class

3) 3 listening and term exams

Graduate Level Work:

1) Group project

2) Composer presentation

3) Graduate presentation

4) 2 works (Bach AND Chopin) to play in class.

5) 3 listening and term exams

6) 2 take-‐home exams

You will provide handouts for Group project/presentation, short presentation and Graduate presentation. You need to show me handouts one day before your presentation.

Listening assignment: TBA

Performances of assignments: You should prepare assigned keyboard repertoires as you would if you were playing it in a studio class, paying attention to accuracy, fluency, tempo, expressiveness, and stylistic interpretation

Exam: Three exams include both written and listening sections. A study-‐guide will be provided before exams. Graduate student will have 2 take-‐home exams.

Grading:

Undergraduate students-‐ 3 exams: 15% each, group project/presentation: 15%, short presentation: 15%, 2 class performances: 10% each, class participation: 5%

Graduate students-‐ 3 exams: 10% each, group project/presentation: 10%, short presentation: 10%, 2 class performances: 5% each, Graduate presentation: 20%, 2 take-‐home exams: 10% each

Each unexcused absence reduces your overall grade by 5%. Each missed assignment reduces your overall grade by 10%. Being absent on a day you are to give a presentation reduces your overall grade by 20%.

Class performance repertoires:

A. You can choose either 1) J. S. Bach, French Suite in D Minor, No.1, Minute I or

2) Minute II.

You will play repetitions.

B. You can choose either 1) Chopin, Mazurka Op.24, no.2,

2) Op. 17, no. 2,

3) Op. 33, no. 14 or

4) Op. 41, no.2.

FALL 2016 SYLLABUS MUS 4571/5571 – Oboe Pedagogy and Repertoire

Two Credit Hours Dr. Michele Fiala Glidden 584 [email protected] Course Description: This course is required for the BM in performance and the MM in performance and performance pedagogy. The course will explore techniques of teaching and recommended materials for various levels of ability. The course includes practical experience in teaching oboe and English horn. It is designed for those who will teach oboe primarily in a studio setting. Included will be topics pertinent to teaching, such as the history of the oboe and instrument maintenance and adjustment. The course will also provide a survey of the performance literature for oboe. It will focus on solo literature but also include important chamber and orchestral repertoire for the oboe. The course will provide an overview of contemporary extended techniques on the oboe. Students will be responsible for preparing music each week for the class. This includes listening to the music, studying a score, and practicing the part if possible. This weekly participation forms the bulk of the grade for the repertoire portion of the class. Additionally, students will assemble an annotated list of solo repertoire for oboe. Readings will be assigned from various resources, including Libby Van Cleve’s The Oboe Unbound. Class Meeting Time: Mondays and Wednesdays, 10:45am-11:40am, Glidden 584 Grading: Daily Grades 20%

Teaching demonstration 10% Final pedagogy project 20% History of the Oboe Outline 10% Repertoire list 20%

Final Exam 20% Grading Scale:

A = 93-100 A-=90-92 B+=87-89 B = 83-86 B-=80-82 C+=77-79 C = 73-76 C-=70-72

D+=67-79 D = 63-66 D-=60-63 F = 0-59

Attendance: Attendance is mandatory for this small and participatory class. Therefore, each unexcused absence will lower the grade by one full letter. Final Pedagogy Paper: Each student will complete a project in an area of his/her choice that relates to oboe pedagogy. The project will result in a paper of between four and five pages for undergraduate students with at least three bibliographic references and between six and seven pages for master’s students with at least four bibliographic references. Some examples of past projects include the application of string bowing inflections to wind instrument playing, and the effects of physical exercise on oboe playing. Repertoire List and Final Exam: Throughout the semester, the student will be compiling a list of common solo and chamber literature for oboe, arranging it according to period and instrumentation, grading the works according to difficulty, and writing brief descriptions of each piece. Further, the student will complete a final exam that includes a writing assignment on extended techniques and questions about oboe repertoire. Additional Expectations for Graduate Students: As detailed above, graduate students are expected to write longer Final Pedagogy Paper than undergraduates. They are required to use scholarly resources and properly footnote their papers in the Chicago style, including a bibliography. While all students’ are expected to use correct spelling and grammar in their writing, graduate writing style should reflect a deeper understanding of the topics studied in both the pedagogy paper and in the final exam. Additionally, graduate students are expected to create lengthier and more detailed entries in their repertoire lists

Saxophone Pedagogy & Repertoire MUS 4571/5571 Syllabus

Ohio University Fall 2015

Professor Matthew James, DMA Email: [email protected] Studio: Glidden Hall, room 576 Office Hours: by appointment Studio Phone: (740) 593-0957 Objectives At the conclusion of MUS 4571, undergraduate students will be able to: ... demonstrate effective applied saxophone teaching strategies ... recognize and assess quality references used in the academic study of saxophone performance and teaching. ... identify and analyze significant works from the saxophone repertoire. ... identify and describe significant events in the history of the saxophone ... identify and describe the contributions of prominent performers and composers of saxophone repertoire. At the conclusion of MUS 5571, graduate students will: ... have completed the objectives listed above ... have produced a professional quality portfolio reflecting their capabilities as a professional performer. The portfolio will include a professional website, a professional plan of action, and representative audio/video of the student’s performing and/or teaching. Course Format The pace of the course, assignments, and specific areas of study will be determined by the students and instructor. Weekly assignments are due at the next class meeting, and will pertain to the following: Survey of printed and online repertoire lists and guides for solo saxophone, saxophone quartet, saxophone in chamber settings, saxophone in the orchestra, and the saxophone in jazz. Survey of specific works and etudes for saxophone in all settings Survey of audio and video recordings Review of saxophone dissertations and theses Creation of themed programs Investigation into specific composers’ works for saxophone Observation of peer and faculty applied teaching Review of printed and online pedagogy sources Survey of saxophone history Preparation of resume and cover letter Survey of current practices and repertoire for high school and university studios Grading Attendance is mandatory at all class meetings. The final grade will be determined as follows: Average of weekly assignment grades 70% Presentation of final approved project 15% Attendance and participation in class discussions 15% TOTAL 100%

ACCOMODATION STATEMENT: Any student who feels s/he may need an accommodation based on the impact of a disability should contact me privately to discuss your specific needs. If you are not yet registered as a student with a disability, please contact the Office of Disability Services at 740-593-2620 or visit the office in 348 Baker

University Center. www.ohio.edu/disabilities/faculty/syllabus.cfm

Ohio University – School of Music Trombone Pedagogy Syllabus

Spring 2016 Classes: MUS 4572 101/ MUS 5572 102 Time: Tuesdays 9am-10:30am Location: Robert Glidden Hall, room 363 Instructor: Lucas Rego Borges, Assistant Trombone Professor Office: Robert Glidden Hall, room 363 Email: [email protected] Cell phone: 940 594 7984 Office Hours: TBA

Required Course Material:

• Daniel L. Kohut, Musical Performance: Learning Theory and Pedagogy, Ed. Stipes • Notebook

Course Objectives: 1. Provide each student with the skills and knowledge necessary to instruct beginning, intermediate and advanced students on trombone, in both performance and pedagogy. 2. Provide each student with a basic understanding of methodological approaches, repertoire, health concerns, and performance demands associated with the instruments of the trombone family. 3. Provide students of trombone general history focusing on major pedagogues and performers in the US and abroad. 4. Discuss topics regarding the subject and foment critical thinking about brass pedagogy. The emphasis will be on teaching. Grading Policy:

Undergrad Graduate Attendance and Participation 30% 20% Written Assignments 20% 15% Class Presentation 20% 15% Research paper -- 25% Final Project 30% 25%

Cont.

Attendance and Participation (all students): Attendance is required; only absences notified in advance and in writing are acceptable. More than 3 unexcused absences will negatively impact final grade. Participation is expected and required; students must contribute to class discussions and demonstrate knowledge of the assigned readings. Students are encouraged to express their ideas and thoughts, which are pertinent to the topic of the class. Expectations for Graduate work:

1. Graduate students are expected to face this class as seminar; therefore they are expected have readings done before each class, research extra material, and be able to demonstrate knowledge and proper references through class participation.

2. Graduate student work needs to demonstrate depth and quality of work beyond the level

expected for undergraduate students in written assignments. Graduate assignments will be graded according to this higher standard.

Graduate students research paper: Graduate students will be expected to wright a 10-page research paper based on an assigned topic. The work needs to demonstrate depth and proper method of research. It must include proper citation and bibliography following the The Chicago Manual of Style: The Essential Guide for Writers, Editors, and Publishers. All sources must be appropriately cited. Written Assignments (all students):

1. Students will write a 500-word review of two brass pedagogy texts/articles selected from the list provided by the instructor. Further details on this assignment will be distributed in advance of the due date.

2. Students will compile three lists of major trombone/low brass instructors and performers, as well as jazz and popular music trombone players. The first shall cover those residing in the United States; the second shall cover major international performers and pedagogues. The third shall cover important jazz and popular players from all over the world. Further details on this assignment will be distributed in advance of the due date.

Class Presentation (all students):

Each student will be responsible to provide a two half hour presentations on topics chosen by the instructor. Specific details about the presentation will be provided in class.

Final Project (all students):

Students will compile a comprehensive list of solos and method books for an undergraduate degree for both bass and tenor trombone, more details in class.

Academic Misconduct: Any student engaging in academic misconduct will receive a failing grade on the assignment and a failing grade in the course. In addition, the case will be referred to the Dean of Students for appropriate disciplinary action. Disabilities: Any student who suspects s/he may need an accommodation based on the impact of a disability should contact the class instructor privately to discuss the student’s specific needs and provide written documentation from the Office of Student Accessibility Services. If the student is not yet registered as a student with a disability, s/he should contact the Office of Student Accessibility Services. Copyright note: The lectures, classroom activities, and all materials associated with this class and developed by the instructor are copyrighted in the name of Lucas Rego Borges on this date January 12 2015. Complementary Bibliography:

• Dennis Wick, Trombone Technique (OUT OF PRINT – digital version available at denniswick.net), available at the library on reserve

• Edward Kleinhammer, The Art of Trombone Playing, Alfred Music Publishing, available at the library on reserve

• International Trombone Association Journals (available online through subscription at ITA website) available at the music library

• M. Dee Stewart, Arnold Jacobs: Legacy of a Master • Reginald Fink, The Trombonist Handbook available at the library on reserve • Trevor Hebert, The Trombone, available at the library on reserve

Online Resources: British Trombone Society, www.britishtrombonesociety.org/ International Trombone Association, http://www.trombone.net/ Last Row Music, lastrowmusic.com Michael Davis BONE2PICK, http://www.hip-bonemusic.com/b2p_december2014.html Stacy's Trombone, http://trombone.myartsonline.com/ Trombone Forum, http://tromboneforum.org/ Trombone History ,http://kimballtrombone.com/trombone-history-timeline/ Trombone Excerpts, http://www.tromboneexcerpts.org/

Trombone Pedagogy Class Schedule (Subject to change)

Dates: Reading Assignments / Class Discussion Events/Items Due

Week 1:

Obtain necessary class materials and introduction Jan Kagarice Brass Pedagogy Handout

Week 2: Read Chapters 1 - 3: Kohut’s Book

Week 3

Read Chapters 4 - 6: Kohut’s Book Dr. Borges will be out of town

Week 4:

Read Chapters 7 - 8 Kohut’s Book Arnold Jacobs: Wind and Song Vern Kagarice “Book” REVIEW

500-word review of two pedagogical texts/articles

Week 5:

Focus of Attention FORM-FOLLOWS-FUNCTION Fundamental Concepts of Trombone Playing and Supporting Teaching Strategies

Focus of Attention Article

Week 6:

Fundamental Concepts of Trombone Playing and Supporting Teaching Strategies Musical conception, ear training, tone production, overtone series, slide technique, articulations, scales, arpeggios, and extended techniques

Fink’s Book Wick’s Book Kleinhammer’s Book Farkas’ book

Week 7:

Curriculum Guide Warm Ups, Daily Drills, Solos, Orchestral Excerpts, Jazz Standards, Etudes, Lyrical, Facility and General Ear Training

SPRING BREAK

Week 8:

Curriculum Guide (cont.) Dr. Borges will be out of town

Due this week: List of mostly common used trombone methods books. Tenor, Bass and Alto Trombones

Week 9: Mar 16-20

Alto Trombone Lecture

Due: graduate 10-page research paper Due: Graduate students lecture

Week 10: Mar 23-27 Bass Trombone Lecture Due: students presentation

Week 11: Mar 30- Apr 3

USA Influential Trombone Players/Teachers Performances Practices Teaching Approaches

List of major trombone/low brass educators and performers in the USA due

Week 12: Apr 6-10

USA Influential Trombone Players/Teachers (cont.)

Week 13: Apr 13-17

International Influential Trombone Players/Teachers Performances Practices Teaching Approaches

List of major international trombone/low brass educators and performers due

Week 14: Apr 20-24

International Influential Trombone Players/Teachers (cont.) Jazz Trombone

List of major Jazz and popular trombonists

Week 15

Jazz Trombone Jazz Pedagogues: David Baker, Phil Wilson and etc

Finals Week: Apr 27- May 1

Final Exams

Final Project: Compile a complete list of solos and method books for an undergraduate degree for both bass and tenor trombone.

Ohio University School of Music -- Spring 2015 Course Syllabus -- MUS 4572/5572, Trumpet Pedagogy and Repertoire, 2 credit hours Professor: John Schlabach, phone (740) 707-2154,

e-mail [email protected] 1. Meeting times: Wednesdays, 4:10 p.m. plus supplemental arranged times for observations and teaching.

2. Catalog description: Current pedagogy and teaching materials for brass

instruments. Solo performance repertoire for brass. 3. Purpose: To provide a comprehensive base of information regarding solo, chamber, and orchestral repertoire from different musical periods. To provide students with materials, resources, and laboratory situations in order to develop/improve skills as an applied trumpet instructor. 4. Content outline: Repertoire portion: Examination/study of all assigned repertoire both individually and through class discussion. New materials will be placed on reserve in the library each week after discussion of previous week's repertoire. Written exam will be on Feb. 25. Pedagogy portion: 1) Selected method and etude books will be reviewed on Mar. 11. 2) A book report (at least 3 pages) will be due on Mar. 25. A pedagogy or sports psychology book will be assigned for each student. On Mar. 25 an oral presentation (about 10 minutes) will also be required discussing the content, educational value, and practical application of the book. 3) Pedagogy topics will be discussed during the last 5 class periods. 4) During the last 5 weeks of the semester (beginning Mar. 25), two arranged trumpet lesson observations and reports will be required. Brief reports - 1 or more pages – will be due within a week of the observation or by the last class period, whichever comes first. 5) During the last 4 weeks each student will teach a 30 minute lesson to a School of Music student that has never played a brass instrument in order to establish basic concepts to a beginner. Each student will also teach one lesson to a college trumpet major. Each lesson will be observed, and the final exam period will be used to discuss these lessons. 5. Grading procedures: Grade will depend upon successful completion of all assigned materials. A final set of documents (cards, computer file, or a paper outline for each solo for example) will be required as a compilation of the student's evaluation of repertoire from the first part of the semester. Grade will depend upon the thoroughness and quality of the evaluations. Also, a written exam will be given at the end of the repertoire portion. Final grade will also depend upon evaluation/successful completion of the activities under the pedagogy portion above. Assignments submitted past the due date will lower the grade.

A higher level of achievement will be expected for students registered for the graduate course, MUS 5572 6. Text: Each student will purchase the assigned book for his/her report and Keith Johnson's Brass Performance and Pedagogy. 7. Attendance policy: Regular attendance is required; absences will lower the final grade. 8. Academic honesty: Cheating or deception of any kind is not tolerated. Any breach will be dealt with through the university judicial system. 9. Prerequisite: Permission of instructor.

Textbook: (required purchase)

Song: A Guide to Style & Literature: Revised Edition (paperback), Carol Kimball

Supplementary Texts: (not required to purchase but recommended)

A French Song Companion, Graham Johnson, Richard Stokes

The Interpretation of French Song, Pierre Bernac

Course Objectives:

In this course we will examine the repertoire for solo voice written by French and British composers. The focus will be on the student becoming familiar with the style traits of the various periods and composers covered. Emphasis will be put on distinguishing features of the various periods and composers studied: rhythm, melodic writing, harmony, accompaniment, form, treatment of the text, relationship with the poet…The student should be able to identify the stylistic traits of a given song, name a probable composer, and be able to defend that decision.

Outcomes:

Students will gain familiarity with a large body of song literature.

Students will be able to articulate the differences between composer’s styles.

Students will become familiar with the characteristics of a variety of composer’s and time periods.

Attendance:

Success in this class depends on the student’s ability to process the material covered over the course of the semester. It is important for you to attend every class as there is no time for review.

Solo Repertoire Vocal (French/British)

MUS 4573/5573 100

Fall 2014

Tuesday and Thursday 3:05 to 4:00

550 Glidden Hall

Prof. Debra Rentz 740-591-1373


I am certainly happy to work with you if you need help, but you must make the effort to catch-up if you miss class.

If you know you will be absent for a class, please contact me before the absence occurs. If you are sick enough to miss class, you must bring in a note from a doctor in order for the absence to be excused. The absence will not be excused without a note! Other excused absences include a family emergency or school function. Make-up work for an excused absence should be done as soon as possible. Each student is allowed one unexcused absence – after that the final grade will be lowered by one grade level (B to B-) for each class missed. Your attendance will greatly affect your final grade.

Accommodation:


Academic Dishonesty:



There is an expectation that graduate students will display a greater depth of knowledge than the undergraduate students in class discussion, class performances and the style sheets. Graduate assignments and performances will be graded according to this higher standard. Graduate students are also required to do an additional recital program for the final project. Details on the final project will be found below.

Grading:

Style sheets/Listening assignments: 1250 points

Class Performance: 200 points

Quizzes: 200 points

Undergraduate Final Project: 200 points

Graduate Students Final Project: 400 points

Final Exam French: 100 points

Final Exam British: 100 points

As you can see, there are 2050 points total for the final grade average. Graduate students have a total of 2250 points possible. Failure to complete the style sheets, or turning them in late, will greatly impact your grade. Grades will be posted on Blackboard, where you can track your total points for the semester.

Homework:

Your homework is to do the assigned reading in the textbook and complete the listening style sheets. The assigned style sheets are due every Friday by 5:00 pm.

Quizzes:

There will be several quizzes on the listening assignments throughout the quarter. If you miss a quiz due to an unexcused absence you will not be able to make it up. Some may be pop-quizzes.

Class Performances:

Each student will perform 2 songs in French and 2 songs in English by 2 different composers. The actual date of the performances may vary from the class schedule as I work out details with the accompanist. I will inform you in advance of any changes to the class schedule. Each performance is worth 50 points. To receive 50 points you must learn the music correctly, perform it with some expression and be able to talk about the text and the musical setting.

Listening Assignments:

It is recommended that you sign up for Google Music Player. I will share a playlist with you that contains each song we will cover in class. If you choose not do subscribe to Google Player, you will need to find recordings on your own. There is a Google document that contains the list of songs for the class. You need to listen to each song and fill out a style sheet. Style sheets are due by Friday at 5:00 pm. Style sheets we discuss for week 2 will be due on Friday of week 3. Please refer to the class calendar for clarification on due dates. The Google doc contains a link to a Google playlist, the score and translation. The style sheets are the major component of your grade. Turning them in late will negatively affect your grade. For each day they are late, one point will be deducted for each style sheet that was due. For example, if you turn in 7 style sheets 2 days past the due date, you will lose a total of 14 points from the 70 points possible. Turn Style Sheets in On Time!

I can give you a template for the style sheets, or you can use your own format. I will provide samples of well-written style sheets on the first day of class.

Final Project:

Your final project is to develop a recital program of French and British song. A mix of French and British song is required. You may use composers we did not cover in class. You must turn in a complete program with program notes. Do not simply regurgitate information from the text book or from you class notes. In addition to the program notes, you will write a defense detailing the ideas for your recital program and why your program works as a recital. The rough draft for

your program will be due on December 2nd by 5:00 pm. The final project is due at the start of the Final Exam on December 11th at 12:20. Following are additional requirements:

The program you choose should be appropriate for your voice type.

You must include works by at least 4 different composers. If you choose to program a song cycle, it must have no more than six songs.

The total amount of music should be between 50-60 minutes. This means you need to time the selections to be sure you have enough music.

ALL songs must be in either French or English.

Although it is not required, feel free to be creative with a theme for this project.

Graduate Students:

In addition to a recital program for your own voice type, you will prepare a recital for a different voice type. The same requirements apply to this program.

There will be a final exam for the French segment on during the class period. The final exam for the British segment is Thursday December 11th at 12:20 pm. This will also be a time for any missed class performances. The final exam for each section will contain a written and a listening component.

This syllabus is subject to change.

French/British Calendar Fall 2014

Tuesday 8/26 Introduction, Discuss Syllabus, French Mélodie

Thursday 8/28 Berlioz, Gounod: (Vilanelle, Sur les lagunes, L’Absent, Venise, O ma belle rebelle)

Tuesday 9/2 Viardot, Bizet: (Aime-moi, Haï luli, Serenade, Chanson d’avril,

Adieux de l’hôtesse arabe, Guitare)

Thursday 9/4 Bizet, Chabrier: (L’ile heureuse, Ballade des gros dindons, Villanelle des petits canards, Les Cigales)

Tuesday 9/9 Duparc, Chausson: (Chanson triste, L’invitation au voyage, Le Manoir de Rosemonde, Les Papillons, Le Colibri, Le temps des lilas, Hébé)

Thursday 9/11 Fauré: (Le Papillon et la fleur, Lydia, Au bord de l’eau, Automne, Notre amour, Fleur jetée)

Tuesday 9/16 Fauré: (Nell, Mandoline, Les Berceaux, Clair de lune, Une sainte en son aureole, La lune blanche lui dans les bois)

Thursday 9/18 Debussy: (Beau soir, Mandoline, Les Cloches, C’est l’extase, Green)

Tuesday 9/23 Debussy: (Fantoches, Clair de lune, Les Ingenus, La Flûte de Pan, Le Tombeau)

Thursday 9/25 Chaminade, Satie: (Lanneau d’argent, Écrin, Je te veux, La Statue de bronze, Le Chapelier)

Tuesday 9/30 Hahn, Ravel: (Si mes vers avaient des ailes, Le Rossignol des lilas, A Chloris, Le réveil de la mariée, Là-bas, vers l’église, Le Paon, Le Grillon, La Pintade)

Thursday 10/2 Ravel, Ibert, Milhaud: (Chanson Romanesque, Chanson à boire, Chanson à Dulcinée, Chanson de la mort de Don Quichotte, A une fontaine, Tais-toi, babillarde!)

Tuesday 10/7 Poulenc: Le Bestiare ou Cortège, Il vole, Violon, Fleurs, Bleuet

Thursday 10/9 Poulenc: Montparnasse, Hôtel, Fagnes de Wallonie, Voyage à Paris, C, Fêtes Galantes)

Tuesday 10/14 French Final Exam

Thursday 10/16 English Song, Purcell: (Music for awhile, Hark! Hark! The Echoing Air, Sweeter than Roses)

Tuesday 10/21 Delius, Vaughan Williams: (Irmelin Rose, Twilight Fancies, Linden Lea,

Silent Noon)

Thursday 10/23 Vaughan Williams: The Vagabond, Let Beauty Awake, The Roadside Fire, Youth and Love, I Have Trod the Upward and Downward Slope)

Tuesday 10/28 Quilter: (Go, Lovely Rose, Come Away, Death, O Mistress Mine,

Love’s Philosophy)

Thursday 10/30 Ireland: (Spring Sorrow, Sea Fever, The Vagabond, The Three Ravens, We’ll to the Woods No More – cycle)

Tuesday 11/4 Butterworth: (Loveliest of Trees, When I was one-and-twenty, Is my team ploughing?, On the Idle Hill of Summer, With Rue my Heart is Laden)

Thursday 11/6 Gurney/Warlock: (In Flanders, Snow, Spring, Sleep, Jillian of Berry, Sleep, Rest sweet nymphs)

Tuesday 11/11 Finzi: (Come Away, Death, Who is Sylvia?, Fear no more the heat o’ the sun, O Mistress Mine, It was a lover and his lass)

Thursday 11/13 Britten: (Let the Florid Music Praise, Now the Leaves are Falling Fast, Nocturne, The Cradle Song, The Nurse’s Song)

Tuesday 11/18 Britten: (Tell me the Truth about Love, Johnny, The Choirmaster’s Burial, Before Life and After

Thursday 11/20 No Class, Prepare for Opera Scenes!

Tuesday 11/25 Britten: Folk song settings: (The Salley Gardens, The Foggy, Foggy Dew, The Last Rose of Summer, Oliver Cromwell)

Thursday 11/27 Thanksgiving Break – NO CLASS

Tuesday 12/2 Madeline Dring: (Blow, blow thou winter wind, It was a lover and his lass, Business Girls, Song of a Nightclub Proprietress) Rough Draft of Final Project Due

Thursday 12/4 Performances, Review for Final Exam

Thursday 12/11 British Final Exam 12:20 pm

Textbook: (required purchase)

Song: A Guide to Style & Literature: Revised Edition (paperback), Carol Kimball

Supplementary Texts: (not required to purchase but recommended)

German: The Cambridge Companion to the Lied, ed. by James Parson

The Nineteenth-Century German Lied, Lorraine Gorrell

American: A Singer’s Guide to American Art Song 1870-1980, Victoria Etnier Villamil

Course Objectives:

In this course we will examine the repertoire for solo voice written by American and German composers. The focus will be on the student becoming familiar with the style traits of the various periods and composers covered. Emphasis will be on distinguishing features of the various periods and composers studied: rhythm, melodic writing, harmony, accompaniment, form…The student should be able to identify the stylistic traits of a given song, name a probable composer, and be able to defend that decision.

Outcomes:

Students will gain familiarity with a large body of song literature.

Students will be able to articulate the differences between composer’s styles.

Students will become familiar with the characteristics of a variety of composer’s and time periods.

Solo Repertoire Vocal (German/American)

MUS 4574/5574

Spring 2015

Monday and Wednesday 2:00 to 2:55

371 Glidden Hall

Debra Rentz 740-591-1373


Office Hours by appointment

Attendance:

Success in this class depends on the student’s ability to process the material covered over the course of the semester. It is important for you to attend every class as there is no time for review. I am certainly happy to work with you if you need help, but you must make the effort to catch-up if you miss class.

If you know you will be absent for a class, please contact me before the absence occurs. If you are sick enough to miss class, you must bring in a note from a doctor in order for the absence to be excused. The absence will not be excused without a note! Other excused absences include a family emergency or school function. Make-up work for an excused absence should be done as soon as possible. Each student is allowed one unexcused absence – after that the final grade will be lowered by one grade level (B to B-) for each class missed. Your attendance will greatly affect your final grade.

Accommodation:



Academic integrity and honesty are basic values of Ohio University. Students are expected to follow standards of academic integrity and honesty. Academic misconduct is a violation of the Ohio University Student Code of Conduct subject to a maximum sanction of disciplinary suspension or expulsion as well as a grade penalty in the course. Any work turned in must be the result of your work alone! This includes the style sheets, presentations and quizzes.


There is an expectation that graduate students will display a greater depth of knowledge than the undergraduate students in class discussion, class performances and the style sheets. Graduate assignments and performances will be graded according to this higher standard. Graduate students are also required to do an additional recital program for the final project. Details on the final project will be found below.

Grading:

Style sheets/Listening assignments: 1330 points

Class Performance: 100 points (American 50 points, German 50 points)

Quizzes: 200 points

Class participation: 200 points

Final Project: 200 points

Final Exams: 200 points (American 100 points, German 100 points)

Graduate Students additional Final Project: 200 points

As you can see, there are 2230 total points for undergraduates, and 2430 total points for graduate students. Failure to complete the style sheets will greatly impact your grade.

Grading Scale:

100-93=A 82-80=B- 69-67=D+

92-90=A- 79-77=C+ 66-63=D

89-87=B+ 76-73=C 62-60=D-

86-83=B 72-70=C- Below 60=F

Homework:

Your homework is to do the assigned reading in the textbook and complete the listening style sheets. You are required to read the poems of the songs we will cover before each class. Class discussion will often begin with the poetry.

Quizzes:

There will be several quizzes on the listening assignments throughout the quarter. If you miss a quiz due to an unexcused absence you will not be able to make it up. Some may be pop quizzes. The quizzes will be on listening and/or score identification.

Class Performances:

Each student will perform 1 English song and 1 German song. You do not need to memorize the songs, but they must be well prepared. Do not get up and sing in class if you are not prepared, as it will negatively affect your grade. Songs will be assigned and scheduled at least 3 weeks before the class performance. I will inform you in advance of any changes to the class schedule.

Listening Assignments:

It is recommended that you sign up for Google Music Player. I will share a playlist with you that contains each song we will cover in class. If you choose not to subscribe to Google Player, you will need to find recordings on your own. There is a Google document that contains the list of songs for the class. You need to listen to each song and fill out a style sheet. Style sheets are due by Friday at 5:00 pm. Style sheets we discuss for week 2 will be due on Friday of week 3. Please refer to the class calendar for clarification on due dates. The Google doc contains a link to a Google playlist, the score and translation. The style sheets are the major component of your grade. Turning them in late will negatively affect your grade. For each day they are late, one point will be

deducted for each style sheet that was due. For example, if you turn in 7 style sheets 2 days past the due date, you will lose a total of 14 points from the 70 points possible. Turn Style Sheets in on Time!

I can give you a template for the style sheets, or you can use your own format. I will provide samples of well-written style sheets on the first day of class.

Class Participation:

I will ask you to prepare class lectures on specific composers and specific songs throughout the semester. I would like you to do more research than is in the textbook. If you are presenting on a composer, you are welcome to play a song that is not on the listening list for class. You will have at least on week to prepare for each class presentation. Graduate students must provide more detailed analysis of the poem and the music than the undergraduate students.

Final Project:

Your final project is to develop a recital program of German and American song. A mix of German and American song is required. You may use composers we did not cover in class. You must turn in a complete program with program notes. Do not simply regurgitate information from the textbook or from you class notes. In addition to the program notes, you will write a defense detailing the ideas for your recital program and why your program works as a recital. The rough draft for your program will be due Wednesday April 15 at 2:00 pm. The final project is due at the start of the Final Exam on Monday April 27 at 12:20 pm. Following are additional requirements:

The program you choose should be appropriate for your voice type.

You must include works by at least 4 different composers. If you choose to program a song cycle, it must have no more than six songs.

The total amount of music should be between 50-60 minutes. This means you need to time the selections to be sure you have enough music.

ALL songs must be in either German or English (American).

Although it is not required, feel free to be creative with a theme for this project.

Graduate Students, in addition to a recital program for your own voice type, you will prepare a recital for a different voice type. The same requirements apply to this program.

.

Final Exams:

The final exam for the German section is Wednesday March 18th during class. The final exam for the American section is on Monday April 28 AT 12:20. Both final exams will include a written exam, listening exam and score identification. The final performances for the American song literature will also take place during the final exam time.

If class is cancelled for some reason, the class schedule may change. I will inform you of any changes and update the Google document and the calendar on Blackboard.

German/American 2015 Class Schedule:

Monday 1/12 Introduction/Syllabus/German Song/Beethoven

Adelaide, Der Kuss, An die Ferne Geliebte

Wednesday 1/14 Beethoven/Loewe/Schubert

An die Ferne Geliebte, Edward, Erlkönig, Gretchen am Spinnrade, Erlkönig

Monday 1/19 No Classes

Wednesday 1/21 Schubert

Die junge Nonne, Abendstern, Nacht und Träume, Suleika #1, Ganymed, Rastlose Liebe

Monday 1/26 Schubert

Der Atlas, Die Stadt

Die Schöne Müllerin

Wednesday 1/28 Schubert

Winterreise

Monday 2/2 Hensel/Mendelssohn

Suleika, Du bist die Ruh, Die Mainacht

Neue Liebe, Frühlingslied, Auf Flügeln des Gesanges

Wednesday 2/4 Clara Schumann/Robert Schumann

Der Mond kommt still gegangen, Er ist gekommen, Lorelei, Liebst du um Schönheit

Liederkreiss Op. 24: Mit Myrten und Rosen

Monday 2/9 Robert Schumann

Liederkreiss Op. 39: In der Fremde, Waldesgespräch, Mondnacht

Myrthen: Der Nussbaum, Die Lotosblume

Frauenliebe und Leben: Seit ich ihn gesehen, Er der Herrlichste von Allen, Nun hast du mir den ersten Schmerz getan, Mein schöner Stern!

Begin Dichterliebe

Wednesday 2/11 Robert Schumann

Dichterliebe

Monday 2/16 Auditions, NO CLASS

Wednesday 2/18 Liszt/Wagner/Brahms

Ihr Glocken von Marling, Die drei Zigeuner

Wesendonck Lieder: Im Treibhaus (piano and orchestral version)

Von Ewiger Liebe, Botschaft

Monday 2/23 Brahms

Die Mainacht, Meine Liebe ist grün, Ständchen, Vergebliches Ständchen,

Wednesday 2/25 Wolf

Eichendorff: Der Musikant, Verschwiegene Liebe, Das Ständchen

Möricke: Das verlassene Mägdlein, Begegnung, Der Gärtner

Monday 3/2 Spring Break

Wednesday 3/4 Spring Break

Monday 3/9 Wolf

Goethe: Mignon (Kennst du das Land?) Der Rattenfänger

Italienisches Liederbuch: Auch kleine Dinge, Ich hab’ in Penna einen Liebsten wohnen

Spanisches Liederbuch: Nun wandre, Maria

Wednesday 3/11 Wolf/Mahler/Strauss

Des Knaben Wunderhorn: Lob des hohen Verstandes

Rückert Lieder: Ich bin der Welt abhanden gekommen, Liebst du um Schönheit Play some orchestral music

Monday 3/16 Strauss/Marx

Amor, Die Nacht, Ständchen, Morgen, Befreit, Schlagende Herzen,

Selige Nacht, Valse de Chopin

Review

Wednesday 3/18 German Final Exam

Monday 3/23 American Song

Beach/Ives

The Year’s at the Spring,

Songs my Mother taught me, The Cage, The Children’s Hour

Wednesday 3/25 Ives

The Houseatonic at Stockbridge, Tom Sails Away, Charlie Rutlage, Swimmers, General William Booth Enters Into Heaven

Monday 3/30 Griffes/Duke

Symphony in Yellow, The Rose of the Night, Lament of Ian the Proud,

Tears (from Five Songs from the Chinese)

Bells in the rain, April Elegy, The Bird

Wednesday 4/1 Copland/Barber

Night, The Little Horses, I Bought me a Cat, Nature, the Gentlest Mother, Why Do They Shut Me Out Of Heaven?

The Secrets of the Old, A Green Lowland of Pianos, O Boundless, Boundless

Evening

Monday 4/6 Barber/Bernstein

Hermit Songs: St. Ita’s Vision, Sea-Snatch, The Monk and His Cat

Despite and Still: Solitary Hotel

Tavouk Geunksis, Civet a toute vitesse, I Hate Music!

Wednesday 4/8 Rorem/Hoiby

Early in the Morning, Allelulia, Love, The Lordly Hudson

The Serpent, What if…,

Monday 4/13 Argento/Hundley

Sleep, Winter, Franz Schubert

The Astronomers, Moonlight’s Watermelon, Strings in the Earth and Air

Wednesday 4/15 Bolcom/Larsen

Amor, Toothbrush Time, Black Max

Anne Boleyn, Katherine Howard, Lift me into Heaven, Big Sister Says

Drafts for final project due at 2:00!

Monday 4/20 Musto/Laitman/Gordon

Penelope’s Song, Nude at the Piano, Recuerdo

Last Night the Rain Spoke to me, If I…

Once I Was, A Horse with Wings

Wednesday 4/22 Heggie/Gordon

Song,

Once upon a Universe, A Route to the Sky, Snake, The Farms of Home, Euclid,

I shall not live in vain

Monday 4/27 Final Exam 12:20 pm and Final Projects Due and Class Performances

Music 4575 / 5575: Percussion Repertoire and Pedagogy Ohio University School of Music

Fall Semester 2016 Professor Roger Braun E-mail [email protected] Phone 740-597-1675 (O) / 740-591-0008 (Cell) / 740-249-2047 (H) Required Text Teaching Percussion, Gary Cook 2006: Thomson Schirmer, 3rd edition Additional Resources Percussion Instruments and Their History, James Blades Faber and Faber and Bold Strummer (revised 1992 edition) Percussion Solo Literature, Thomas Siwe Percussion Ensemble Literature, Thomas Siwe Various Scores, Recordings, and Reference materials PAS Online Database Course Description This class has two units: percussion repertoire and percussion pedagogy. The repertoire unit provides a broad overview of important repertoire for percussion instruments and presents the historical significance of these works. Works from the genres of orchestral, chamber, solo, percussion ensemble, and jazz will be studied. The goal of the class is to provide an introduction to many important works and traditions for percussion rather than focus in depth on fewer pieces. The pedagogy unit explores the process of teaching percussion. Our work includes studying current teaching methods, developing individual teaching concepts, model teaching, and research. We will examine the process of learning and teaching percussion in depth with the goal of becoming better teachers as well as better players. Course Work / Assignments In the repertoire unit assignments and class work include score study, listening, discussion, reading, and basic research. Students are assigned a work for each class and present their findings to the class. A specific form is used for this research and copies of

the completed forms are distributed to each member of the class. At the conclusion of the class each student will have a portfolio consisting of the information forms, detailing each work studied. A listening exam occurs at the end of the repertoire unit. In the pedagogy unit there are frequent reading assignments and much of the class is discussion oriented. Students keep a journal to write reactions to readings and discussions, and to record teaching ideas and exercises. Some of these assignments will be turned in for feedback. The full journal is turned in at the end of the semester. In addition to the journal, there are two model teaching demonstrations and an individual research project. Graduate Level Work, Additional Expectations (Mus 5575) Graduate student work needs to demonstrate depth and quality of work beyond the level expected for undergraduate students. Graduate assignments, exams, and projects will be graded according to this higher standard. Percussion literature research must include academic sources found in the library, the percussive arts society database, and pertinent recordings. All sources must be appropriately cited. The pedagogy journal entries must be in depth writing that reflects personal teaching experiences and incorporates ideas from our reading assignments and class discussion. Evaluation / Grading Each of the following components receives a letter grade and the student’s final grade is determined by the ratio below: 20% Repertoire Research and Class Presentations 20% Repertoire Listening Exam 20% Pedagogy Journal 20% Pedagogy Project 20% Class Participation / Demonstrations / Model teaching

PIANO PEDAGOGY Syllabus – Fall 2014

MUS 4580 – 13699 MUS 5580 – 13700 Gail Berenson, Instructor

Description: A practical course aimed at providing creative teaching strategies for the piano teacher. Teaching philosophies, objectives, and procedures will be discussed and applied to group and private piano instruction. The psychological principles operative in piano teaching will also be examined. Teachers will explore conceptual approaches to help students develop their musicianship skills. Discussions will also include lesson content, focusing on the teaching of style, building students’ interpretive skills and building a strong technical and musical foundation. The course will include teaching techniques for working with students of all ages. Objectives: • To provide students an awareness of the importance of their role as teachers in influencing their students’ future learning, self-confidence, and sense of worth. • To help teachers learn ways to create an environment that will support, encourage and motivate their students. • To help teachers explore varied approaches to communicate musical and technical concepts to their students. • To help teachers feel knowledgeable about lesson content, both musical and technical. Suggested Reading: Authors: James Lyke, Geoffrey Haydon, Catherine Rollin Title: “Creative Piano Teaching” (Fourth Edition) Publisher: Stipes Publishing L.L.C; Champaign, IL ISBN: 978-1-60904-054-3 Author: Christopher Fisher Title: Teaching Piano in Groups Published: Oxford University Press ISBN: 0195337042 Authors: Berenson et al Title: “A Symposium for Pianists and Teachers: Strategies to Develop the Mind and Body for Optimal Performance” Publisher: Heritage Music Press/A Division of the Lorenz Corporation, Dayton, OH Box 802 Dayton, OH 45401-0802 ISBN: 0-89328-154-9

Authors: Marienne Uszler, Stewart Gordon, Scott McBride Smith Title: “The Well-Tempered Keyboard Teacher” Second Edition Publisher: Schirmer Books, New York ISBN: 0-02-864788-2

Author: Sylvia Coats Title: "Thinking As You Play: Teaching Piano in Individual and Group Lessons"

Publisher: Indiana University Press; Bloomington, IN ISBN: 0-253-21815-2 Project I -- Observation: Students are to observe piano lessons taught by the Master Teachers in the Athens Community Music School and the teachers within the Athens community listed below.

Undergraduate and graduate students: A minimum of eight (8) hours of observation will be required, preferably spaced equally throughout the semester. Any combination of half-hour, forty-five minute or hour lessons is acceptable. Over the course of the year, students are urged to observe ALL of the teachers listed. To achieve some continuity, students should try to observe the same youngster in several consecutive lessons.

Please e-mail each teacher first to find out to which lessons you may have access. Not all students’ lessons are open to observers. Notify teachers of your intention to visit a lesson at least 24 hours ahead of the lesson you wish to observe. Ask their permission - do NOT just appear! You can most easily communicate with these teachers by e-mailing them or leaving a note in their mailbox or on their studio door. Since studio space is limited, please keep the number of student observers to no more than one at any one lesson. Since teachers and students are just getting started for the semester, please do not begin your observations until week 3.

All students will be required to turn in a written report of their observation, due at the class period immediately following the lesson just observed. Each report (one lesson per report, please) is to be double-spaced and one page in length. Please stress your reactions to what you are seeing (don’t just list what happened), also including the ideas you might wish to incorporate into your own teaching. Specify what is taking place in enough detail so that your report can provide you clear ideas for your own future use. The following information should be included in the heading of each report: 1) your name; 2) date the report is being written; 3) name of the teacher being observed; 4) date of lesson being observed; 5) pertinent student information (i.e. girl, age 12). All observations need to be completed and reports submitted on or before December 8th. Project II -- Submitting a proposal for a presentation: This project will take you through the process of preparing a proposal to submit to a professional organization for presentation at a local/state/national meeting. It will have three components: 1) One-page abstract; 2) Bibliography; 3) Resume (1 page maximum/front-back). Students are to prepare a one-page abstract on any topic of interest relating to the field of piano teaching. This abstract is a brief description of a proposal for a 60-minute presentation (i.e. an MTNA session presentation). It should also include a separate bibliography that could be utilized to turn this presentation into a written journal article, and a resume (2-pages maximum). A draft proposal indicating the topic is due no later than October 8th. It should include the title of the proposed topic plus a brief description. The final proposal is due on or before December 8th. OR you may choose:: Project II -- Write your teaching philosophy and studio policies, also including fee structure and payment plan:

Part A: All teachers need to think through and articulate their teaching philosophy, making it available to their students and their parents. This project asks students to submit a 600-word statement of their teaching philosophy, which will fulfill Project I in the MTNA Certification requirements. Part B: Outlining one’s studio and business policies is another critical document that every independent teacher must think through and prepare. This should also include fee structure and a payment plan. This partially fulfills Project V in the MTNA Certification requirements. You may wish to consult Beth Gigante Klingenstein’s The Independent Piano Teacher's Studio Handbook as a resource, in addition to the discussions on this topic in class. Both parts of Project II are due on or before December 8th. For all of the Certification projects, please consult the MTNA website for more detailed information: http://www.mtnacertification.org/CertificationProcess/ApplicationProcessAfterJanuary12010/PianoOverview/tabid/736/Default.aspx Project III – Professionalism: Part of being a professional in this field is holding membership in a professional organization, attending professional meetings to continue professional growth, and subscribing to professional journals to remain current about pedagogical trends. Students are expected to join MTNA/OMTA (collegiate membership) and to attend the local association’s meetings and events. MTNA National Dues: $16 OH State Dues: $ 8 Southeast District: $10 Total : $34 Just as a reminder if you join online, it will only cover the National and State dues. After you submit online please e-mail Melissa Curtice at [email protected] letting her know you have just joined online and requesting that she add the Southeast District for $10.00. You may just want to phone MTNA directly to join, giving them your credit card info. 1-888-512-5278. Dial extension #237 and ask for Melissa Curtice, who is in charge of Membership Processing. Students are required to attend the first and third events listed below and strongly encouraged to attend the second event and submit a 1-2 page paper about each event. No summaries, please - instead, describe how the information gained might influence your teaching or performing. Papers are due the class period following the event. 1. Saturday, September 20, 2014 9:30 AM – 12:30 PM - RH SEOMTA District Fall Conference: Mary Craig Powell, guest clinician "Teaching Strategies for Teachers" Many of us have studied with teachers who were able to tell us what to do to improve our playing but not always how to get those improvements. This session will explore “how” to get many of these results. Numerous teaching strategies will be explored along with DVD demonstrations with young children. Mary Craig will also bring two of her own piano students, allowing the audience to additionally observe teaching strategies through live teaching.

Mary Craig Powell – guest clinician: Mary Craig Powell currently teaches piano in her home studio in Columbus, Ohio. Retired from the Conservatory of Music faculty of Capital University, she has taught piano at both the college and preparatory levels. Her reputation as a Suzuki teacher has grown to international proportions and has given her extensive invitations throughout the world to train teachers and teach children. She has authored the book “Focus on Suzuki Piano” and contributed to numerous other publications. As chairman of the Suzuki International Piano Committee she is responsible for editing and adding new repertoire to the new International Suzuki Piano Books. Among her many recognitions, she has received the “Excellence in Teaching” and “Excellence in Suzuki Teacher Education” awards from the Suzuki Association of the Americas and the Distinguished Alumna Award from the School of Music at East Carolina University. Quite active in MTNA, she received the OMTA State Independent Teacher of the year award in 2007. In fall, 2013, Mary Craig was featured in “Clavier Companion.” 2. Thursday-Saturday, October 16-18, 2014 Ohio MTA State Conference – Wilmington, OH - Wilmington College Students are encouraged to attend the Ohio Music Teachers Association State Conference – as much as their schedules will permit. 3. Keyboard Division visiting artist activities Sean Chen, pianist – 2013 Cliburn Bronze Medalist/APA Fellow Master Class: September 29, 2014 12:55-1:50 PM Recital Hall Linda Holzer, pianist – Faculty member, University of Arkansas-Little Rock Lecture-Recital: October 20, 2014 12:55-1:50 PM

Course Policies Attendance Policy: Class will meet on Wednesdays from 2:00-2:55 PM in Room 480. Two missed class meetings represent the maximum permitted absences. Three or more missed classes will result in the recording of the grade of “F” for the quarter. Notebook/Papers: Class members should maintain a notebook for the course in which all distributed materials and class notes are to be kept in chronological order. No handwritten papers will be accepted. Tests and Grading Policies: There will be no final exam this quarter. Projects and class participation will determine the final grade. The weighting will be as follows: Project I 30% Project II 30% Professionalism 20% Class participation 20% Final course grade: 100%

Graduate students must demonstrate a depth of understanding and quality of work beyond that which is expected from undergraduate students. Graduate assignments, exams, and projects will be evaluated according to this higher standard. PLEASE NOTE: Any student who feels s/he may need an accommodation based on the impact of a disability should contact me privately to discuss your specific needs. If you are not yet registered as a student with a disability, please contact the Office of Disability Services at 740-593-2620 or visit the office in 348 Baker University Center. www.ohio.edu/disabilities/faculty/syllabus.cfm Teachers to observe: ACMS Master Teachers – Piano Faculty

Wendy Blackwood – 640D 740-818-5038

[email protected]

Christopher Fisher – 582 740-597-2594

[email protected]

Katie Fisher – 620D Mondays-586 on other days 740-243-2166

[email protected]

Marsha Reilly – 640F 740-592-4596

[email protected]

Carole Cordray-Syracuse – 620F 740-593-8596

[email protected] 740-593-8596

Teachers from the Athens community: Christa Sigman (Simply Music) [email protected]

740-707-3631 (cell)

740-854-4011 (office)

Liesbeth Korink Beasley (KinderMusik) [email protected]

Cell: 740-591-6995

ACEnet campus – 94 Columbus Rd

Patricia Lachman 740-592-6430 7858 Luhrig Rd. Athens [email protected]

SCHOOL OF MUSIC

MUS 4581/5581: PIANO PEDAGOGY SPRING 2015

INSTUCTOR INFORMATION Dr. Christopher Fisher 582 Robert Glidden Hall Phone: 740.593.4233 Email: [email protected] COURSE OBJECTIVES This course is designed to educate students on the foundational principles of teaching piano and issues surrounding this topic. During this term, emphasis will be placed on the following:

• Philosophy of teaching • Observation and analysis of teaching • Elements of transformative piano teaching • An introduction to learning theory • Curriculum building • Lesson planning • Teaching strategies • Practice strategies • Piano methodology for the average-‐age beginner • Leveling repertoire • Standard teaching literature • Educational literature • Duet and ensemble literature • Instructional materials and resources, including technology • Business principles, entrepreneurism, and the independent music teacher • Websites

REQUIRED MATERIALS Duke, Robert (2005). Intelligent Music Teaching: Essays on the Core Principles of Effective

Instruction. Austin, Texas: Learning and Behavior Resources. Fisher, Christopher (2010). Teaching Piano in Groups. New York: Oxford University Press. Jacobson, Jeanine (2006). Professional Piano Teaching: A Comprehensive Piano Pedagogy

Textbook for Teaching Elementary-‐Level Students. Van Nuys, California: Alfred Publishing Company.

Knerr, Julie (2012). Mini-‐Essays (PDF File) Knerr, Julie (2012). Strategies for Efficient and Effective Piano Teaching. (PDF File) Magrath, Jane (1995). The Pianist’s Guide to Standard Teaching and Performance Literature. Van

Nuys, California: Alfred Publishing Company.

Membership in Music Teachers National Association (MTNA) and the OU Collegiate Chapter

2

SUGGESTED READING & MATERIALS Breth, Nancy O’Neill (2004). The Piano Student’s Guide to Effective Practicing. Milwaukee, Wisconsin:

Hal Leonard Corporation. Breth, Nancy O’Neill (2012). Practicing the Piano. Milwaukee, Wisconsin: Hal Leonard Corporation. Coats, Sylvia (2006). Thinking as You Play: Teaching Piano in Individual and Group Lessons. Bloomington, Indiana: Indiana University Press. Lhevinne, Josef (1972). Basic Principles in Pianoforte Playing. New York: Dover Publications, Inc. Powell, Mary Craig (1999). Focus on Suzuki Piano. Van Nuys, California: Alfred Publishing Company.

Sinn, Deborah Rambo (2013). Playing Beyond the Notes: A Pianist’s Guide to Musical Interpretation.

New York: Oxford University Press.

Uszler, Marienne, Steward Gordon, Scott McBride Smith (1999). The Well-‐Tempered Keyboard Teacher, Second Edition. New York: Schirmer Books.

Yost, Kristin (2011). How I Made $100,000 My First Year as a Piano Teacher. Ikeen Music, LLC. COURSE EVALUATION PERCENTAGE OF FINAL GRADE 1. Class Participation, Discussion of Course Readings, Daily Assignments 10% 2. Teaching Analyses 10% 3. Applying Principles of Learning Lesson Plan Project 10% 4. Piano Method Project 20% 5. Repertoire Database Project 20% 6. Website Project 10% 7. Final Examination 20% Graduate students must demonstrate a depth of understanding and quality of work beyond that which is expected from undergraduate students. Graduate assignments, exams, and projects will be evaluated according to this higher standard. ATTENDANCE POLICY The class will meet on Mondays and Wednesdays from 2:00 to 3:00 in Room 582. Your regular attendance and active participation in class discussions are critical to your success in this course. Three or more missed classes will result in the recording of the grade of F for the term. ACCOMODATION STATEMENT Any student who feels s/he may need an accommodation based on the impact of a disability should contact me privately to discuss your specific needs. If you are not yet registered as a student with a disability, please contact the Office of Disability Services at 740-‐593-‐2620 or visit the office in 348 Baker University Center. www.ohio.edu/disabilities/faculty/syllabus.cfm

SCHOOL OF MUSIC

MUS 4582/5582: GROUP PIANO PEDAGOGY SPRING 2014

INSTUCTOR Dr. Christopher Fisher 582 Robert Glidden Hall Phone: 740.593.4233 Email: [email protected] OBJECTIVE Group Piano Pedagogy is designed to educate students on the foundational principles of teaching piano in group environments and issues surrounding this topic. REQUIRED MATERIALS Fisher, Christopher (2010). Teaching Piano in Groups. New York: Oxford University Press. SUGGESTED MATERIALS Coats, Sylvia. (2006). Thinking as You Play: Teaching Piano in Individual and Group Lessons. Bloomington, IN: Indiana University Press. COURSE EVALUATION PERCENTAGE OF FINAL GRADE 1. Class Participation and Daily Assignments 20% 2. Group Piano Textbook Project 15% 3. Group Piano Laboratory Design Project 15% 4. Group Piano Teaching Demonstrations 20% 5. Observation of Group Piano Teaching (4) 10% 6. Final Project 20% Graduate students must demonstrate a depth of understanding and quality of work beyond that which is expected from undergraduate students. Graduate assignments, exams, and projects will be evaluated according to this higher standard. ATTENDANCE POLICY The class will meet on Mondays and Wednesdays from 2:00 to 3:00 in Room 582. Your regular attendance and active participation in class discussions are critical to your success in this course. Three or more missed classes will result in the recording of the grade of F for the term. ACCOMODATION STATEMENT Any student who feels s/he may need an accommodation based on the impact of a disability should contact me privately to discuss your specific needs. If you are not yet registered as a student with a disability, please contact the Office of Disability Services at 740-593-2620 or visit the office in 348 Baker University Center. www.ohio.edu/disabilities/faculty/syllabus.cfm

COURSE OUTLINE/SCHEDULE (Subject to change at the instructor’s discretion) Week One – January 13 & 15, 2014 Discussion of course content, syllabus, and requirements. Chapter 1: Group Piano Teaching: An Introduction Week Two – January 20 & 22, 2014 Chapter 2: Practical and Logistical Issues Week Three – January 27 & 29, 2014 Chapter 3: Learning Theory: An Introduction Week Four – February 3 & 5, 2014 Chapter 4: Cooperative Learning Theory and Group Piano Teaching Week Five – February 10 & 12, 2014 Chapter 5: Instructional Considerations Designing a Conceptual Lesson Plan Week Six – February 17 & 19, 2014 Chapter 7: Group Piano and the Pre-College Student Visiting Lecturer: Ted Cooper, Levine School of Music – February 17, 2014 Week Seven – February 24 & 26, 2014 Chapter 8: Group Piano and the Adult Hobby Student Recreational Music Making Video Week Eight – March 10 & 12, 2014 Chapter 9: Group Piano and the University Music Major Visiting Lecturer: Dr. Mario Ajero, Stephen F. Austin State University - March 12, 2014 Week Nine – March 17 & 19, 2014 Chapter 6: Instructional Strategies Visiting Lecturer: Martha Hilley, University of Texas-Austin – March 19, 2014 Observations of Group Piano Teaching Due Week Ten – March 24 & 26, 2014 NO CLASS MTNA – Work on projects! Week Eleven – March 31 & April 2, 2014 Group Piano Textbook Review Project – Student Presentations Week Twelve – April 7 & 9, 2014 Group Piano Laboratory Design Project – Student Presentations Week Thirteen – April 14 & 16, 2014 Group Piano Teaching Demonstrations – Student Presentations Week Fourteen – April 21 & 23, 2014 Final Project Presentations Due

OHIO UNIVERSITY SCHOOL OF MUSIC MUS 4585: VOCAL PEDAGOGY

MUS 5584: VOCAL PEDAGOGY SURVEY COURSE SYLLABUS, FALL 2014

Instructor: Kelly W. Burns Meeting Location: Glidden Hall 480 Office: Glidden Hall 373 Meeting Time: Tuesday and Thursdays, 8-9AM E-mail: [email protected] Office Hours: By appointment COURSE DESCRIPTIONS

• MUS 4585 is intended for undergraduate students to gain a basic knowledge of issues related to vocal pedagogy, as described in the Course Objectives below.

• MUS 5584 is intended for graduate students to gain a much deeper knowledge of issues related to vocal pedagogy, as described in the Course Objectives below. Graduate students will be required to complete extra assignments appropriate for a graduate study.

COURSE OBJECTIVES

Undergraduate Students This course is designed for vocal performers, voice teachers, choir directors, music therapists, and all others wishing to know more about how the voice works. The objectives are for students to: • understand contemporary voice science methodology, research, and clinical practice that have

application for the voice studio, choir rehearsal, music therapy clinic, and/or individual careers in voice performance.

• appreciate the scientific method in matters of vocal pedagogy, particularly in the diagnosis and correction of vocal inefficiencies.

• examine vocal anatomy and physiology as they pertain to respiration, phonation, resonance, articulation, and lifespan vocal development.

• survey the acoustic properties of sound as they relate to voice production and perception • consider the role of the voice teacher, choir director, or music therapist in fostering vocal health and

voice care, so they may know when to refer students to a voice center or otolaryngologist. • address matters of interest to voice teachers, choir directors, and music therapists such as selection of

vocal literature, membership in professional organizations, professional ethics, opportunities for ongoing professional development, and the business dimensions of setting up and maintaining a private voice studio.

Graduate Students In addition to the objectives listed above, graduate students will also be able to: • consider pedagogical strategies for working with voices of various age levels, abilities, and prior

learning experiences, including diagnosing inefficient vocal phenomena and implementing learning experiences to modify them.

• explores where to find and how to read scientific research related to the human voice and its employment as both a solo and choral musical instrument.

• converse intelligently with voice scientists, otolaryngologists, and other voice professionals through both spoken and written discourse.

REQUIRED TEXTBOOKS McCoy, Scott J. Your Voice: An Inside View, Second Edition. Delaware, OH: Inside View Press, 2012. McKinney, James C. The Diagnosis and Correction of Vocal Faults, Revised Edition. Long Grove, IL: Waveland

Press, 2005.

COURSE OUTLINE This bulk of this course is designed in 6 modules; all reading assignments should be completed at the beginning of each module. Dates are subject to change with notice. Module 1: Introduction (Week 1) This module includes basic terminology that will be used throughout the course as well as a review of the various types of connective tissues found in the human body. McCoy: Introduction, Chapter 1 McKinney: Introduction, Chapters 1–2 Module 2: Posture, Respiration, and Breath Management. (Weeks 2, 3, and 4) This module is concerned with posture, the anatomy and physiology of the respiratory system, and faults relating to breath management and posture. McCoy: Chapters 6–7 McKinney: Chapters 3–4

Module 3: The Larynx and Phonation (Weeks 5, 6, and 7) This module is concerned with the anatomy and physiology of the larynx – including its musculature and skeletal framework – and the faults relating to phonation. McCoy: Chapter 8 McKinney: Chapter 5 Module 4: Hearing, the Nature of Sound, and Resonation (Weeks 8, 9, and 10) This module is concerned with the anatomy and physiology of the ear and vocal tract, the characteristics of sound, vowel formants, the Singer’s Formant, vowel modification, and the faults relating to hearing and resonation. McCoy: Chapter 12, Chapters 2–5 McKinney: Chapters 2 & 8 Module 5: Registration, Voice Classification, and Articulation (Weeks 11 and 12) This module is concerned with the male and female registers, the adolescent and/or changing voice, the faults relating to registration, voice classification, appropriate vocal models, the anatomy and physiology of articulation, the faults relating to articulation, and the speaking voice. McCoy: Chapters 10–11 McKinney: Chapters 6–7 Module 6: Special Topics, Teaching Demonstrations, and Research Presentations (Weeks 13, 14, and 15) Undergraduate and graduate students will demonstrate basic voice teaching concepts in this module. Graduate students will also give presentations on their respective research papers (see below). ADDITIONAL TOPICS FOR GRADUATE STUDY Additional readings will be assigned to graduate students in addition to those listed above. Short written responses or quick presentations will be required of the graduate students throughout the semester. The topics incorporated throughout the semester include, but are not limited to:

• the national schools of singing technique • vocal health and hygiene • voice disorders • evaluations and auditions • establishing a studio • resource development • perspectives and perceptions of choral singing vs. solo singing.

WRITTEN ASSIGNMENTS AND SUPERVISED TEACHING The responsibility of submitting work in a timely fashion will rest with the student. Under no circumstances will late assignments or work be accepted.

Teaching Observations – 3 for Undergraduates; 6 for Graduates. Assignment: 1. Undergraduate students should submit 2 observations of applied voice lessons and 1 observation of a choir

rehearsal. Graduate students should submit 4 observations of applied voice lessons and 2 observations of a choir rehearsal.

2. Each student will submit a summary of his/her observations for grading. Please include (1) the gender of the voice student OR the voicing of choir, (2) the level of the student (freshman, sophomore, etc) OR whether the choir is auditioned or non-auditioned, and (3) the name of the voice teacher or conductor. Given the nature of this assignment, all observations will be kept confidential.

3. The observations must be completed between September 15 and October 31 (7 weeks). 4. Final observation summaries are due on Friday, November 7, 2014 by 3pm. Rules for observing are as follows: 1. Studio observations must be done in separate studios, so that no teacher will see the same student twice. 2. Students may not observe ensembles in which he/she is participating (even if the student is not enrolled). 3. Students will secure the permission of the voice teacher AND the voice student for voice lesson

observations before he/she observes the lesson. Under no circumstances will a student be allowed to sit in unannounced.

4. Students will secure the permission of the conductor for ensemble observations before he/she observes the rehearsal. Under no circumstances will a student be allowed to sit in unannounced.

5. Students may not observe dress rehearsals. 6. Students may record lessons or rehearsals for future reference with the permission of the faculty member

and student. These recordings should not be published. 7. No more than two students are permitted to observe the same lesson or rehearsal at the same time.

Additional Readings and Responses Articles from related professional journals (NATS Journal of Singing, ACDA Choral Journal, etc.) and pedagogy texts will be assigned throughout the semester. Students will offer written critical evaluations of these readings. Undergraduate students will complete 3 readings/responses; graduate students will complete 5.

Teaching Demonstrations All students will be expected to demonstrate mastery of pedagogical concepts through practical application (teaching) during normal class meetings. Each student, working with an assigned partner, will teach 2-3 brief lessons, each of which will focus on a specified skill or topic (i.e. balanced onset, breath management, posture, vowel modification, etc.). Teaching schedules will be arranged in advance.

Research Paper - Graduate Students Only Graduate students will write a 10-15 page research paper on an approved topic. All topics must be approved no later than September 15, 2014. Final Draft is due on Tuesday, November 25, 2014 by 3pm.

EXAMS AND QUIZZES

• Extra credit quizzes will be given periodically throughout the semester. • Exams will be administered at the end of Modules 2, 3, and 4 (three exams total). • Graduate Exams and Undergraduate Exams will be different. • The Final Exam is cummulative (all Modules) and is scheduled for Tuesday, December 9, 2014 at 8am. • No makeup quizzes or exams are allowed, unless a previous arrangement has been made.

ATTENDANCE Attendance is expected and required. Each student is benefited with 2 absences which will not adversely affect his/her grade. The third and any subsequent absence will result in the final grade dropping one grade (i.e. a final grade of A- becomes B+ on the third absence, the B+ becomes a B on the fourth absence, etc.). A student will be advised to drop the course (if possible) on the sixth (6th) absence, or a final grade of F will be assigned for the semester. All assignments are due by their due date, and should be turned in ahead of schedule should a student be absent on the due date. GRADING Undergraduate students must earn a C or better in this class to count towards their degree requirements. Graduate students must make a B or higher. The student’s final grade will reflect his or her overall mastery of content knowledge in the objective areas over the course of the semester. A points system will be used for this calculation.

Undergraduate Points Possible 200 - Teaching Observations (3 total) 150 - Reading Responses (3 total) 150 - Teaching Demonstrations 300 - Exams (100 points each) 200 - Final Examination

Graduate Points Possible 200 - Teaching Observations (6 total) 100 - Reading Responses (5 total) 100 - Teaching Demonstrations 100 - Research Paper 100 - Presentation 300 - Exams (100 points each) 100 - Final Examination

Points Grading Scale - All Students A 950–1000 C+ 790–819 A- 910–949 C 760–789 B+ 880–909 C- 730–759 B 850–879 D 700–729 B- 820–849 F 699 or below

OHIO UNIVERSITY CODE OF CONDUCT AND ACADEMIC MISCONDUCT All students are required to follow the OU Code of Conduct, which addresses – among other policies – basic obligations and procedures relating to honesty, truth, fairness, respect, and responsibility. No forms of Academic Misconduct will be tolerated in this course. Any student(s) found guilty of Academic Misconduct will be subject to any and all appropriate measures, which range from the immediate dismissal from and failure of this course to expulsion, suspension, or probation from Ohio University. Your signature on all your work and your participation in this class indicates you have abided by this policy. The Ohio University Code of Conduct can be accessed at http://www.ohio.edu/communitystandards/academic/students.cfm. STUDENT ACCESSIBILITY Any student who suspects he or she may need an accommodation based on the impact of a disability should contact the Office of Student Accessibility Services. If the student is not yet registered as a student with a disability, he or she should still contact the Office of Student Accessibility Services for assistance. OSAS is located in COMMENTS AND ADDITIONAL INFORMATION The lectures, classroom activities, and all materials associated with this class and developed by the instructor are copyrighted in the name of Kelly Burns on this date, August 26, 2014. This syllabus is subject to change. Updated August, 2014


Spring, 2015 Course Syllabus; MUS 5440

Title: Trumpet (Graduate applied trumpet lessons), 1-6 hours credit

Instructor: John Schlabach, phone (740) 707-2154, E-mail: [email protected]

Meeting times & location: Individual lessons arranged, all lessons are in studio 383, once per week. Additionally, all students will attend the studio class time Mondays and Wednesdays (on non- PL days), 12:55 to 1:50 p.m. in room 494.

Purpose and objectives: To provide the specific means for each trumpet player to improve his/her basic applied skills, techniques, and musicianship in preparation for a career in music. Players must satisfy the requirements of their degree program by successfully passing juries and hearings. Other requirements such as performances in studio class, performances labs, hearings and recitals will also vary depending on degree program, proficiency level, and student initiative. Please see student handbook policies reprinted under "other" on the reverse side of this syllabus.

Required materials: A professional quality trumpet(s) in excellent working condition is necessary. Method books, etude books, solo repertoire, etc. will be assigned on an individual basis for the student to purchase. Also required for this course are a metronome, and a pitch pipe for ear training assignments.

Grading procedures: The final grade will be based on the following: a. Average of weekly lesson grades based on preparation of all assigned materials and general attitude (75% of final grade) b. Jury grade. Juries consist of prepared works and scales/arpeggios. Frequency of juries and content will be assigned for each student depending upon major and skill level. A minimum of two juries is required per year; normally recitals, degree or non-degree, can replace a jury. For performance majors, one jury will consist of orchestral excerpts. Juries will be graded (25% of final grade). c. Literature requirement. To be considered for an "A" students must pass a number of lyrical and technical etudes (or comparable orchestral or solo literature). Different degree programs and lesson hour credit will dictate how many etudes must be passed; this will be determined at the beginning of the quarter with each student. Also, one solo work must be performed in recital or

studio class each quarter (with exceptions at instructor's discretion). Students will also occasionally perform assigned etudes or excerpts in studio class.

Attendance policy: A lesson that is missed due to a university function or sickness will be rearranged if the instructor is informed prior to the lesson time (in case of an emergency, notify me as soon as possible). Unexcused lesson absences will not be made up, and will lower the final grade. Generally, at minimum the second unexcused absence will lower the final grade by 1 letter, the third absence 2 letters, etc. I will contact you in advance if I need to rearrange your lesson for any reason. Other: 1. Performance grad trumpet students are expected to enroll in MUS 5540 (trumpet ensemble) to supplement the lesson and studio class experiences unless there is an unavoidable class conflict. 2. Clinics, master classes, or guest trumpet performances may be arranged during the year outside of studio class time which would require your attendance and/or participation. Trumpet students are expected to attend all recitals in which there is a solo trumpet performance. Please inform me in advance if there is a legitimate conflict that would prevent you from attending. 3. Be thoroughly warmed up and ready to play at your lesson time. A continuing habit of not being warmed up will negatively affect the final grade. Related School of Music Graduate Handbook recital policies: All students presenting a graduate recital must have the approval of their teacher. Upon request

by the teacher, division, or student, a hearing committee will be assembled, comprising three

faculty members from the division (where possible) including the teacher, to hear the proposed

recital.

Students intending to present a recital within a given quarter must schedule a date, with their

teacher's permission, by submitting the recital Scheduling Authorization Form to the Associate

Director within the first two weeks of that quarter. Dates for both Winter and Spring quarters

may be scheduled during the first two weeks of Winter Quarter.

The recital must be given during the regular academic year -- September through May. No

recitals will be scheduled during the examination period or the summer.

ohio university school of music performance lab mus … · ohio university school of music...

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