ROSE BRUFORD COLLEGE OF THEATRE & … · ROSE BRUFORD COLLEGE OF THEATRE & PERFORMANCE ... ROSE BRUFORD COLLEGE OF THEATRE & PERFORMANCE Module Specification 2 ... Schmeling, Paul

ROSE BRUFORD COLLEGE OF THEATRE & PERFORMANCE Module Specification

* ECT (European Credit Transfer and Accumulation System): There are 2 UK credits for every 1 ECT credit, in accordance with the Credit Framework (QAA). Therefore if a module is worth 20 UK credits, this will equate to 10 ECT.

** Notional hours of learning: The number of hours which it is expected that a learner (at a particular level) will spend, on average, to achieve the specified learning outcomes at that level. It is expected that there will be 10 hours of notional study associated with every 1 credit achieved. Therefore if a module is worth 20 credits, this will equate to 200 notional study hours, in accordance with the Credit Framework (QAA).

1. GENERAL INFORMATION

Title Opera at Work

Module code OS401

Credit rating 20

Level 4

Indicative Contact hours See learning hours

Pre-requisite modules none

Co-requisite modules none

School responsible School of Performance

Member of staff responsible Dr F Jane Schopf

ECT* 10

Notional hours of Learning** 200

2. AIMS

The module aims to:

introduce you to the historic, economic and cultural contexts of opera performance today

contextualise the finished productions in relation to the policies and internal

organisation of the opera companies

assist you in examining the relationship between opera companies and their

audiences/communities

develop your abilities in using and evaluating a variety of research material

3. BRIEF DESCRIPTION OF THE MODULE

This module discusses the role of opera in society. The various aspects of production are explored explaining how collaborations work and the different roles required together with the economics of the art form in terms of fund raising and management. The broader aspects of community opera and the role of the media conclude the module.


2

4. INTENDED LEARNING OUTCOMES

Category of outcome You will be able to:

Knowledge and understanding

identify financial, political and operational contexts in which operas are produced and how they impact on the artistic decision-making process. acquire an informed awareness of the working contexts and organisation of historical and contemporary opera production

Intellectual skills identify and practise primary study skills and scholarly research methods identify specific models of theory and analysis appropriate for the study of opera identify financial streams and their impact on opera production

Practical skills undertake detailed comparative analyses of operas and approaches to opera practice

Transferable skills and personal qualities

start to practice scholarly modes of presentation and approaches to referencing and bibliography present a structured argument in written assignments start to identify the theoretical assumptions informing their own work and the writings/practices of others formulate a comprehensive response to a designated assignment

5. LEARNING AND TEACHING PROCESSES (INCLUDING THE USE OF E-LEARNING)

The module will be taught by distributed written teaching material containing graded exercises with full responses as well as interactive exercises. A specialist tutor will be available for regular student support online and via email.

6. ASSESSMENT (INCLUDING THE USE OF E-LEARNING)

Assessment task Length Weighting within module (if relevant)

Written assignment 1 Written assignment 2

2000 +/- 10% 3000 +/- 10%

40% 60%


3

7. FURTHER INFORMATION

Semester 1 or 2

Available on which programme(s)?

Opera Studies

Available as Free Choice (UG) or to other programmes (PG)?

No

Content Weeks 1 and 2

Discussion of the role of opera and its present position within society in the UK, Europe and America. The principles of production and a discussion of the various roles within a company.

Weeks 3 and 4

A discussion of the roles of the director and the the concept of ‘director’s opera’.

Weeks 5 and 6

Fundraising and the economics of opera: revenue streams and methods of increasing revenue

Weeks 7 and 8

Company management: mission statements, marketing strategies

Weeks 9 and 10

The work and role of education departments

Weeks 11 and 12

Community opera

Weeks 13 and 14

The influence and role of the media

Weeks 15 and 16

The role of the critic

Feedback

Written responses are given for the graded exercises within the module material. Full comments are given on submitted written work with suggestions for future improvement.


4

Indicative Reading Abraham, Gerald. The Concise Oxford History of Music Oxford: OUP, 1991 Berman, Annarosa. The Company We Keep Sydney, Currency Press, 2006 Christiansen, Rupert. Prima Donna – A History. London. Pimlico. Revised Edition 1995.

Citron, Marcia. Opera on Screen Yale: University Press, 2000

Gilbert, Susie, & Shir, Jay. A Tale of Four Houses London: Harper Collins, 2003

Higgins, John. Glyndebourne – a Celebration London: Jonathan Cape, 1984

Holden, Raymond. The Virtuoso Conductors Yale: University Press, 2005

Kolb, Bonita. Marketing for Cultural Organisations Thompson Learning, 2005

Lebrecht, Norman. Covent Garden, the untold story Boston: Northern University Press, 2000

Lebrecht, Norman. The Maestro Myth: Great Conductors in Pursuit of Power London: Pocket Books, 1997. Maretzek, Max. Revelations of an Opera Manager in 19th Century America. New

York: Dover Publications Inc., 1968. Pleasants, Henry. Opera in Crisis London:Thames and Hudson, 1989 Snowman, Daniel. The Gilded Stage London: Atlantic Books, 2009

Sutcliffe, Tom. Believing in Opera. London: Faber, 1996

Tambling, Jeremy. Opera, Ideology and Film Manchester: University Press, 1987

Waugh, Alexander. Opera: A New Way of Listening. London: De Agostini Editions, 1996

Williams, Bernard. On Opera Yale: University Press, 2006

Proposed start date September 2012

Date of approval (for UoM office use)

Information updated on

Date of current version (for RBC use)

Jan 2012





Title Mastering the Basics of Music

Module code OS402

Credit rating 20

Level 4

Indicative Contact hours n/a





ECT* 10


2. AIMS

The module aims to:

Develop your understanding of musical notation and enable you to read and follow the

vocal score of an opera

• develop your understanding of basic concepts such as keys, tonality, tonics and

dominants and to apply them in the study of vocal scores

Acquaint you with the rationale behind traditional western harmonic thought

Enable you to distinguish between major and minor modes


The module explores the ‘nuts and bolts’ of musical notation, developing both aural and visual skills. Note names, clefs, scales, keys, rhythm, time signatures, tonic-dominant relationship, chords, cadences, modulations layout are all discussed and explored in relation to both opera and instrumental music.



2



explain basic musical concepts such as keys and tonality apply such concepts in the study of vocal and orchestral scores read simple lines of musical text

Intellectual skills identify and practise primary study skills and scholarly research methods identify specific models of theory and analysis appropriate for the study of opera, and begin to apply these in critical assessments

Practical skills utilise specialist skills in music analysis utilise specialist skills in score reading


maintain scholarly modes of presentation and approaches to referencing and bibliography present a structured argument in written assignments undertake a range of formal assessments to a range of specified briefings (assignments) engage in critical self-assessment read and follow musical notation respond to the precise terms of a designated assignment develop and apply skills of analysis in research, critical writing performance and music


You will receive written text via our E-learning platform. The material has staged exercises and tasks throughout, most being interactive. All exercises have full explanatory responses.



A multiple choice question A series of short essay answers

2000 words equivalent 3000 words +/- 10%

40% 60%


Semester 1 or 2


Opera Studies


3


No

Content Weeks 1 and 2 Melody Staves, clefs, note names, tones and semitones, C major & A natural minor scales, intervals. Pitch. Weeks 3 and 4 Scales and Keys Scales based on different notes (G, F, E, D), sharps, flats and naturals, key signatures. Weeks 5 and 6 Rhythm Note heads and durations, bar lines and simple time signatures, strong and weak beats. Compound time signatures and anacruses. Weeks 7 and 8 Triads Triads, arpeggios. Weeks 9 and 10 Cadences The importance of the dominant- tonic relationship, cadences. Weeks 11 and 12 Chords Chords and their layout, sevenths Weeks 13 and 14 Modulation Modulation to near and related keys. Weeks 15 and 16 Chromatic notes

Further wider modulations and chromatic colouring.

Teaching Method You will receive written text via our E-learning platform. The material has staged exercises and tasks throughout, many being interactive. All exercises have fully explanatory responses. Distributed written material with graded exercises and tasks, many interactive, and all with responses. You will also receive written Tutor feedback on submitted work, online tutorials and support.

VLE Wide use of online resources, interactive exercises with responses

Chat rooms and online tutorials

Feedback

Given with the interactive exercises; via chat rooms and emails and fully annotated written comments on submitted work.

Indicative Reading

Jones, G. T. Music Theory London: Harper Collins, 1974 Nickol, Peter. Learning to Read Music Oxford: How to Books, 2008 Richer, Margaret. Understanding Music Theory Oxford: Hodder Education, 2010 Small, Christopher. “The Perfect Cadence and the Concert Hall”, Chapter 1 of Music - Society - Education. John Calder, London, 1980 Schmeling, Paul. Berklee Music Theory Book 1 Boston: Berklee Press, 2005 Straus, Joseph N. Elements of Music, 2nd ed. Upper Saddle River, NJ: Prentice Hall, 2008

Taylor, Eric. The AB Guide to Music Theory London: Associated Board, 1989

Zeitlin, Poldi. Understanding Music Theory London: Omnibus Press, 2001



4


Information updated on 4.1.12


4.1.12





Title Mastering the Basics of Analysis Part 1

Module code OS403

Credit rating 10

Level 4


Pre-requisite modules OS402




ECT* 5


2. AIMS

The module aims to: enable you to analyse operatic arias in terms of their musical features enable you to relate the musical score to the dramatic moment enhance your understanding of opera by recognising the structures and compositional tools composers use to set texts develop your analytical skills with regard to basic operatic structures


The module will focus on operatic structures such as recitative, da capo aria, ritornello and explore their structures and functions within operas relating their use to the dramatic texts. The question of musical unity within a work will be discussed. Orchestral score layout will be studied together with the families of instruments.



2



Explain basic musical concepts such as keys and tonality and apply them in the study of vocal and orchestral scores Analyse arias in terms of their dramatic features relate specific musical sections to the dramatic moment




maintain scholarly modes of presentation and approaches to referencing and bibliography present a structured argument in written assignments maintain scholarly modes of presentation and approaches to referencing and bibliography present a structured argument in written assignments formulate a comprehensive response to a designated assignment





Written task Analysis of a short aria and recitative

1,000 words 2,000 words

40% 60%


Semester 1 or 2


Opera Studies


3


No

Content Weeks 1 and 2 Operatic Forms - I Exporation of operatic structures such as recitative, arioso, aria shapes, ensembles, ground basses, overture/prelude relating musical shapes and features to dramatic intentions. Weeks 3 and 4 Operatic Forms - 2 Musical unity and ways to achieve it; e.g., long term tonal planning, reminiscence motifs, leitmotives. Weeks 5 and 6 The Orchestra The orchestra. Score layouts, what to look for and where to look in an orchestral score. Transposing instruments. The function of the orchestra in opera. The orchestra as protagonist or as commentary. Weeks 7 and 8 Analysis

Analytical techniques such as harmonic analysis will be discussed and examples of how to integrate this within a written response will be given.

Teaching Method You will receive written text via our E-learning platform. The material has staged exercises and tasks throughout, many being interactive. All exercises have fully explanatory responses. You will also receive written Tutor feedback on submitted work, online tutorials and support.



Feedback


Indicative Reading Abbate, Carolyn and Parker, Roger (eds.). “Introduction: On Analyzing Opera” in Analyzing Opera, Verdi and Wagner. Berkeley: University of California Press, 1989 Cutter, B. Harmonic Analysis Cornell University, 2009 Morris, C. Reading Opera between the lines Cambridge: CUP, 2002 Noske, Frits. The Signifier and the Signified. Oxford, Clarendon Press, 1990 Piston, Walter Principles of Harmonic Analysis New York: Schirmer, 1983 Scher, S. P. Music an Text: critical enquiries Cambridge: CUP, 1992

Swain, J. P. Harmonic Rhythm Oxford: OUP, 2002




4



1 July 2013





Title Mastering the Basics of Analysis Part 2

Module code OS404

Credit rating 10

Level 4


Pre-requisite modules OS402, OS403




ECT* 5


2. AIMS

The module aims to: further your ability to analyse operatic forms and structures in relation to the dramatic text expand your vocabulary of analytical methods give you tools to use these methods and techniques in your writing


This module builds on OS403 by looking at sonata principle and its use within opera as well as a basic introduction to voice leading. More advanced examples will be used to help you deconstruct a work to find the connection between text and score. The breakdown of tonality as seen in Wagner’s Tristan und Isolde and its meaning for western music will be discussed.


2




explain basic musical concepts such as keys and tonality and apply them in the study of vocal and orchestral scores relate musical structures to the dramatic text




maintain scholarly modes of presentation and approaches to referencing and bibliography present a structured argument in written assignments read and follow musical notation respond to the precise terms of a designated assignment develop and apply skills of analysis in research, critical writing performance and music formulate a comprehensive response to a designated assignment





Written An analysis using a technique of your choice

1,000 words Equivalent to 2,000

40% 60%


Semester 1 or 2


Opera Studies


No


3


Sonata principal - its features and tonal structure.

Weeks 3 and 4

Sonata principle in Mozart’s operas

Weeks 5 and 6

A basic introduction to Schenkerian analysis

Weeks 7 and 8

The innovation of Tristan and its meaning for Western music

Teaching Method You will receive written text via our E-learning platform. The material has staged exercises and tasks throughout, many being interactive. All exercises have fully explanatory responses. You will also receive written Tutor feedback on submitted work, online tutorials and support.



Feedback


Indicative Reading

Aldwell, E. and Schater, C. Harmony and Voice Leading New York: Schirmer, 2011 Benjamin, T. E., Michael E. Horvit, M. E. and Robert Nelson, R. Music for Analysis: Examples from the Common Practice Period and the Twentieth Century Oxford: OUP, 2001 Cadwallader, A. Gagné, D. Analysis of tonal music: a Schenkerian approach Oxford: OUP, 1998 Tobin, J. R. Mozart and the Sonata Form London: Da Capo Press, 1978





July 2013

http://www.amazon.com/Music-Analysis-Examples-Practice-Twentieth/dp/0195155130/ref=sr_1_10?s=books&ie=UTF8&qid=1325765029&sr=1-10

http://www.amazon.com/Music-Analysis-Examples-Practice-Twentieth/dp/0195155130/ref=sr_1_10?s=books&ie=UTF8&qid=1325765029&sr=1-10





Title Opera in Context

Module code OS405

Credit rating 20

Level 4






ECT* 10


2. AIMS

The module aims to:

enable you to engage with some of the basic aims, accomplishments and problems of

opera, as both a musical and staged dramatic form

develop your abilities to situate and analyse operas in their historical and cultural

contexts

develop your abilities to analyse dramatic form

enable you to identify the relationships between music, drama, staging and theatre space,

social structure and cultural context.


The module seeks to place the study of opera in historical and cultural contexts. The historical

scope of the module is from the beginnings of opera to the present day, with a particular focus

on the periods of three crucial operatic innovators: Monteverdi, Gluck and Wagner.


2




begin to situate operas within their historical, social and political contexts identify financial, political and operational contexts in which operas are produced and how they impact on the artistic decision-making process place opera composers, librettists and practitioners in historical and relative contexts evaluate judgements of taste and value in a range of critical domains evaluate and discuss significant developments in opera acquire an informed awareness of the working contexts and organisation of historical and contemporary opera production

Intellectual skills identify and practise primary study skills and scholarly research methods identify and apply analytical approaches appropriate for systematic historical and contextual inquiry

Practical skills undertake detailed comparative analyses of operas and approaches to opera practice utilise specialised skills in comparative opera analysis utilise specialist skills in music analysis utilise specialist skills in score reading


maintain scholarly modes of presentation and approaches to referencing and bibliography present a structured argument in written assignments respond to the precise terms of a designated assignment locate and discuss primary material within historical and theoretical frameworks formulate a comprehensive response to a designated assignment



3

You will receive written text via our E-learning platform. The material has staged exercises and tasks throughout, many being interactive. All exercises have full explanatory responses.



Formative, multi-part Summative (essay based)

2000 (+/- 10%) 3000 (+/- 10%)

40% 60%


Semester 1 or 2


Opera Studies


No


Towards a definition of opera. Librettist-composer collaboration; role of the singer.

Weeks 3 and 4

Antecedents of opera; the first operas; the spread of the new style.

Weeks 5 and 6

Handel in London and Gluck’s reforms

Weeks 7 and 8

Mozart and the relationship between text, music and drama

Weeks 9 and 10

Rossini, Bellini, Donizetti, Meyerbeer and Grand Opera

Weeks 11 and 12

Beethoven, Marschner, introducing Wagner and Verdi

Weeks 13 and 14

Verdi Rigoletto Wagner Die Walküre

Weeks 15 and 16

Modern and Post Modern opera and musical theatre genres


4

Teaching Method Distributed written material with graded exercises and tasks, many interactive, and all with responses.

Specified texts

Written Tutor feedback on submitted work, online tutorials and support



Feedback

Given via chat rooms and emails and fully annotated written comments on submitted work

Indicative Reading Arblaster, Anthony. Viva la Libertà London: Verso, 2000

Barbier, P. Opera in Paris, 1800-1850 Amadeus, 1995

Dahlhaus, C. Nineteenth-century Music University of California Press, 1989

Cooke, Mervyn. Twentieth-century Opera Cambridge: CUP, 2005

Millington, B. Wagner Dent, 1984

Petrobelli, P. Music in the theatre Princeton, 1994

Pistone, D. Nineteenth-century Italian Opera Amadeus, 1995

Plantigna, L. Romantic Music Norton, 1984

Plaut, E. A. Grand Opera Chicago: Dee, 1993

Radice, M. A. Opera in Context Amadeus, 1998

Rosselli, J. Music and Musicians in 19th century Italy Batsford, 1991

Sternfeld, F. W. The birth of opera OUP, 1993

Treadwell, J. Interpreting Wagner Yale, 2003

Weiss, Piero Opera, a History in Documents Oxford: OUP, 2002





Dec. 2011





Title Ways of Talking about Opera

Module code OS406

Credit rating 20

Level 4






ECT* 10


2. AIMS

The module aims to:

encourage you to be able to question the status of a work of art

enable you to examine how meaning can be read from performance

offer you insights into modes of writing about theatre

strengthen your awareness of models of theory appropriate for the study and

understanding of opera and performance


This module examines the question of how a work of art can be ‘read’, and how it can be written

about. It also interrogates the concept of culture and why some operatic events or practitioners

achieve enduring status. It poses fundamental questions about the nature of art, and moves on to

apply these to opera. It considers the effect of the historical, political and ideological contexts

upon a work of art. It also asks how works of art, particularly opera, convey meaning and how

that meaning is interpreted by audiences.


2




identify financial, political and operational contexts in which operas are produced and how they impact on the artistic decision-making process. Evaluate judgements of taste and value in a range of critical domains acquire an informed awareness of the working contexts and organisation of historical and contemporary opera production read meaning from performance


Practical skills undertake detailed comparative analyses of operas and approaches to opera practice utilise specialised skills in comparative opera analysis


maintain scholarly modes of presentation and approaches to referencing and bibliography present a structured argument in written assignments undertake a range of formal assessments to a range of specified briefings (assignments) engage in critical self-assessment respond to the precise terms of a designated assignment identify the theoretical assumptions informing their own work and the writings/practices of others formulate a comprehensive response to a designated assignment


You will receive written text via our E-learning platform. The material has staged exercises and tasks throughout, many being interactive. All exercises have fully explanatory responses.



3



2000 (+/- 10%) 3000 (+/- 10%)

40% 60%


Semester 1 or 2


Opera Studies


No

Content Weeks 1 -4 Abigail’s Party

The material guides you towards recognising some of the ways performances identify themselves through design, characterisation and acting style as well as investigating how different productions of the same piece can acquire radically different meanings through staging and contextual framing.

Weeks 5-8 Eugene Onegin

The material deals with theatrical naturalism with an examination of operatic verismo and the development of Romanticism. It will examine Graham Vick’s production for Glyndebourne Festival Opera in 1994 and Petr Weigl’s 1988 film, based on the Solti recording. Students will investigate opera as a coded form and examine ways space, setting and visual elements contribute to meaning-making. Weeks 9-12 Cosi fan Tutte

By contrasting conventional and radical approaches to this opera, this material will further develop your ideas around feminist theory. We will study Nicholas Hytner’s production for Glyndebourne Festival Opera in 2006, Jonathan Miller’s 1997 production for the Royal Opera and Peter Sellars’ 1991 video of his long-running production. Weeks 13-16 Das Rheingold

This material will look at two productions of the first Ring opera, and will further develop the idea of context as a key determinant in the creation of performance meaning. The material will use Otto Schenk’s New York Metropolitan production, and the Bayreuth centenary production by Patrice Chéreau. Through the Chéreau production, we will introduce Marxist theory as a critical perspective.


Specified texts



4



Feedback


Indicative Reading Badiou, Alain. Five lessons on Wagner Trans. Susan Spitzer, London and New

York: Verso, 2010 Fortier, Mark. Theory / Theatre: An Introduction. London & New York: Routledge,

1997. Frost, Anthony & Yarrow, Ralph: Improvisation in Drama. Basingstoke, Palgrave Macmillan 2007. Pushkin, A. Eugene Onegin. Translated by Charles Johnston. London: Penguin

Classics, 2003. Styan, J.L. Modern Drama in Theory and Practice – Realism and Naturalism.

Cambridge: CUP, 1981. Sutcliffe, Tom. Believing in Opera. London: Faber, 1996. Treadwell, James. Interpreting Wagner London and New York: Yale University

Press, 2003





18.12.11





Title The Singer

Module code OS407

Credit rating 20

Level 4






ECT* 10


2. AIMS

The module aims to:

further your understanding of the role of the singer in relation to the composition

and production of opera

enable you to consider the technical aspects of vocal production within an historical

perspective

increase your knowledge of singers and the possibilities of vocal and dramatic

interpretation within the context of the history of operatic production

develop your abilities to analyse the singer’s position within society over the period of

the last four hundred years, with reference to social, cultural and political events


The module offers a socio-historical overview of the role of the singer, before moving on to

consider topics such as vocal classification and its effect on operatic composition; basic vocal

physiology and its relation to changing notions of vocal technique; the ways in which singers

are trained and ‘marketed’ and the way in which expectations of singers’ performance have

evolved. The module concludes with some case studies of particularly influential singers.


2




begin to situate operas within their historical, social and political contexts identify financial, political and operational contexts in which operas are produced and how they impact on the artistic decision-making process place opera composers, librettists and practitioners in historical and relative contexts evaluate judgements of taste and value in a range of critical domains explain and discuss significant developments in opera gain a detailed knowledge of the main artistic movements, traditions and ideologies that influence and inform opera in all periods of its history identify historical perspectives of vocal production

Intellectual skills identify and practise primary study skills and scholarly research methods identify and apply analytical approaches appropriate for systematic and in-depth historical and contextual inquiry analyse the singer’s position within society

Practical skills undertake detailed comparative analyses of operas and approaches to opera practice utilise specialised skills in comparative opera analysis


maintain scholarly modes of presentation and approaches to referencing and bibliography present a structured argument in written assignments undertake a range of formal assessments to a range of specified briefings (assignments) respond to the precise terms of a designated assignment identify the theoretical assumptions informing their own work and the writings/practices of others formulate a comprehensive response to a designated assignment



3

You will receive written text via our E-learning platform. The material has staged exercises and tasks throughout, many being interactive. All exercises have fully explanatory responses.




2000 (+/- 10%) 3000 (+/- 10%)

40% 60%


Semester 1 or 2


Opera Studies


No


4

Content Weeks 1 and 2 The Voice

How the voice is made. Society’s perception of the singer – historical context.

Weeks 3 and 4 1600-1760

Opera designed for singers; the castrato as operatic superstar; definitions of bel canto; patronage and the singer as servant.

Weeks 5 and 6 Reform and Revolution: 1760-1820

The shift of power from singer to composer, and from patron to public spectator; the demise of the castrati; the development of opera singing as a profession and the beginnings of a new and lucrative operatic marketplace

Weeks 7 and 8 Bel Canto and the Rise of the Prima Donna: 1820-1860

The supremacy of the coloratura soprano on the operatic stage; the operatic travelling troupe at home and abroad; new approaches to the tenor voice; the final flourish of “singer’s opera”. Weeks 9 and 10 “Con Belto” and the Emergence of the Helden Tenor: 1860-1900

Science and singing - changing ideas of technique and the development of the “big voice”. The expansion of opera singing as a profession, the establishment of music conservatoires, and the influx of middle-class novice singers

Weeks 11 and 12 New Singers for New Opera in a New Age: 1900-1930

The influence of naturalism and other avant-garde theatrical practices on operatic performance conventions; the vocal and physical demands of the new opera on the singer; the emergence of the director. Weeks 13 and 14 Building the Future, Reviving the Past: 1930-1968

The effects of technological advances (especially the jet-plane and the gramophone) on the singer’s career; the paucity of new operatic repertoire; the revival of bel canto techniques and operas. Weeks 15 and 16 The Voices of Here and Now: 1968-2012

New audiences, mass markets and crossing cultural divisions; the rise of designer/director’s opera and its use of the singer; opera on, and as, film.


Specified texts




Feedback



5

Indicative Reading Benedetti, Jean. Stanislavski: An Introduction London: Methuen, 1982. Bentley, Eric, ed. The Theory of the Modern Stage Harmondsworth: Penguin Books, [1968] 1992. Budden, Julian. “Verdi and the World of the Primo Ottocento.” The Operas of

Verdi. Vol.I. Oxford: Clarendon Press, 1992. Budden, Julian. “The Collapse of Tradition (Italian Opera 1840-70).” The Operas Of Verdi, Vol.II. [Oxford: Clarendon, 1992

Carreras, José. Singing From the Soul: An Autobiography London: Souvenir Press, [1991] 1994. Dunn, L.C. and Jones, N. A. (eds) Embodies voices Cambridge: CUP, 1994 Edwards, G. & Edwards, R. The Verdi Baritone Indiana University Press, 1994.

Grunberger, Richard. A Social History of the Third Reich London: Phoenix Press, 2005

Fitzlyon, April. Maria Malibran: Diva of the Romantic Age London: Souvenir Press, 1987

Roach, Joseph. A Player’s Passion: Studies in the Science of Acting London & Toronto: Associated University Presses, 1985

Hahn, Reynaldo. On Singers and Singing trans. Leopold Simoneau. Oregon: Amadeus Press, 1990.

Hines, Jerome. Great Singers on Great Singing New York: Limelight Editions, 1990.

Holmes, William C. Opera Observed: Views of a Florentine Impresario Chicago, 1993

Hyde, Derek. New-Found Voices: Women in Nineteenth Century English Music Aldershot: Ashgate, 1998

Kerman, Joseph. Opera as Drama London: Faber & Faber, 1989.

Lehmann, Lilli. How to Sing New York: Dover Publications, 1993. Matheopoulos, Helen. Diva: Great Sopranos and Mezzos Discuss Their Art Boston, MA: Northeastern University Press, 1992

Platoff, John. “The buffa aria in Mozart’s Vienna.” Cambridge Opera Journal Vol. 2, no 2 (July 1990).

Pleasants, Henry. The Great Singers Hemel Hempsted: Prentice Hall, 1981. Poriss, Hilary. Changing the Score Oxford: OUP, 2009

Rosselli, John. Singers of Italian Opera: The History of a Profession Cambridge: Cambridge University Press, 1995

Scott, Michael. The Record of Singing, Vols.I & II. London: Gerald Duckworth & Co., 1993.

Thomson, Peter and Glendyr Sacks, ed. The Cambridge Companion to Brecht Cambridge: CUP, 2007





22.12.11





Title The Singer in Practice

Module code OS407A

Credit rating 20

Level 4

Indicative Contact hours 48 (6 hours x 8 sessions) plus independent study

Pre-requisite modules None




ECT* 10


2. AIMS

The module aims to: further your understanding of the role of the singer in relation to the composition and production of opera enable you to study and practise the technical aspects of opera singing within an historical perspective increase your knowledge and practise as a performer within the context of the history of operatic production develop your abilities to analyse the singer’s position within society over the period of the last four hundred years, with reference to social, cultural and political events enable you to develop your performance skills and guide you vocally and in terms of suitable repertoire

3. BRIEF DESCRIPTION OF THE MODULE The module offers

The module offers singers the opportunity to work intensively on vocal technique in addition to studying the history behind the role of the singer, as well as historical context. It focuses on individual performances and includes vocal coaching, text work, movement, dramatic interpretation with established industry professionals through Associated Studios in London. The module includes a contextual essay and concludes with solo performances.


2




begin to situate operas within their historical, social and political contexts identify financial, political and operational contexts in which operas are produced and how they impact on the artistic decision-making process place opera composers, librettists and practitioners in historical and relative contexts evaluate judgements of taste and value in a range of critical domains explain and discuss significant developments in opera gain a detailed knowledge of the main artistic movements, traditions and ideologies that influence and inform opera in all periods of its history identify historical perspectives of vocal production undertake detailed comparative analyses of operas and approaches to opera gain an understanding of the performer’s craft, technique and discipline

Intellectual skills identify and practise primary study skills and scholarly research methods identify and apply analytical approaches appropriate for systematic and in-depth historical and contextual inquiry analyse the singer’s position within society analyse vocal technique and the dramatic interpretation of text

Practical skills utilise specialised skills in movement, voice, singing, and text analysis undertake a performance of a classical song/aria


maintain scholarly modes of presentation and approaches to referencing and bibliography present a structured argument in written assignments undertake a range of practical assessments to a range of specified briefings respond to the precise terms of a designated assignment identify the theoretical assumptions informing their own work and the writings/practices of others formulate a comprehensive response to a designated assignment respond to stimuli from a varied team of coaches


You will receive blended learning through: Face to face tuition in vocal coaching, acting and movement Written text via our E-learning platform with staged exercises and tasks throughout, many being interactive, all with full explanatory responses.


3



1st assignment: contextual essay (RBC staff) 2nd assignment: performance of a classical song or an aria, plus a reflective journal (Jointly RBC and Associated Studios staff)

2000 3000 equivalent

40% 60%


Semester 1 or 2


Opera Studies


Yes.

Requirements:

Applicants for ' The Singer in Practice' module should have some experience as singers. Applicants will be asked to present two contrasting classical songs or arias at audition. Applicants should demonstrate the ability to sing a variety of repertoire well, and to have the potential and ability to develop this further.


4

Content

Practical component:

Multiple sessions in the following will be given during the course of the eight bi-weekly classes, which will build in complexity as the weeks progress:

Solo Performance

Movement

Acting

Seminars with Industry Professional focusing on specific topics relating to the Singer's profession.

Written component:

Students will choose FOUR out of these eight two-weekly units:

1. Weeks 1 and 2 The Voice

How the voice is made. Society’s perception of the singer – historical context.

2. Weeks 3 and 4 1600-1760

Opera designed for singers; the castrato as operatic superstar; definitions of bel canto; patronage and the singer as servant.

3. Weeks 5 and 6 Reform and Revolution: 1760-1820

The shift of power from singer to composer, and from patron to public spectator; the demise of the castrati; the development of opera singing as a profession and the beginnings of a new and lucrative operatic marketplace

4. Weeks 7 and 8 Bel Canto and the Rise of the Prima Donna: 1820-1860

The supremacy of the coloratura soprano on the operatic stage; the operatic travelling troupe at home and abroad; new approaches to the tenor voice; the final flourish of “singer’s opera”.

5. Weeks 9 and 10 “Con Belto” and the Emergence of the Helden Tenor: 1860-1900

Science and singing - changing ideas of technique and the development of the “big voice”. The expansion of opera singing as a profession, the establishment of music conservatoires, and the influx of middle-class novice singers

6. Weeks 11 and 12 New Singers for New Opera in a New Age: 1900-1930

The influence of naturalism and other avant-garde theatrical practices on operatic performance conventions; the vocal and physical demands of the new opera on the singer; the emergence of the director.

7. Weeks 13 and 14 Building the Future, Reviving the Past: 1930-1968

The effects of technological advances (especially the jet-plane and the gramophone) on the singer’s career; the paucity of new operatic repertoire; the revival of bel canto techniques and operas.

8. Weeks 15 and 16 The Voices of Here and Now: 1968-2012

New audiences, mass markets and crossing cultural divisions; the rise of designer/director’s opera and its use of the singer; opera on, and as, film.

Teaching Method Blended learning:

Practical component: delivered face to face over 4 months graduating in complexity as the weeks progress

Written component: Distributed written material with graded exercises and tasks, many interactive, and all with responses.

Specified texts


5



Feedback

Practical component: feedback will be given orally during and after each session.

Written component: feedback will be given via chat rooms, online tutorials and emails and fully annotated written comments on submitted work

Indicative Reading

Proposed start date January 2014


Information updated on 18.6.13


18.6.13