This course focuses on understanding and performing theater for young people. During the semester, students will read and analyze a classic work of children’s literature, explore how it is suitable for adaptation to theater, and then choose a 40 minute adaptation to perform for local schools and after school programs. Students will also be required to analyze and learn songs from musicals for family audiences, such as Seussical, The Wizard of Oz, Children’s Letters to God, and Annie. During the semester, students will perform songs from youth musicals as well as present written analysis of those musicals. The course will require a tremendous commitment, including preparation outside of class time. This class is by audition only.
This course is a journey for the student in self-discovery, self-revelation, and self-expression combining musical elements to tell an autobiographical story. Students write an autobiographical one-person show based on their life experiences, including writing and performing original music. Course components include daily journal writing, script writing based on traditional dramatic play structure, plot and character development, and storytelling. The final project will be a fifteen-minute, self-produced one-person performance on stage for an audience.
An exploration of the classical art song with a different emphasis each semester (German lieder, French chanson, Italian art song and songs of the British Isles and America). Designed to introduce students to the rich and varied classical art song repertoire as well as increase proficiency in singing in other languages, to introduce the International Phonetic Alphabet (IPA), its rules and applications, and to strengthen the performance of art songs.
Level three (out of four levels) of the Voice Department's recommended structured learning path for improvisation. Rhythmic, melodic and harmonic considerations of vocal improvisation will be reviewed including syllable articulation pentatonic patterns, phrasing, and motivic development as applied to R&B and pop music. Midterm and final exams require student to demonstrate R&B phrasing in improvisation and recognize recorded music examples of improvisation in the R&B/pop idioms.
For songwriters who wish to better perform their own original material. Must self-accompany. Singers will work to develop their vocal skills while utilizing creative songwriting techniques that will help them personally connect with their original material. This process will spark a narrative for personal songwriting and vocal development. There will be weekly assignments including daily vocal workouts and daily journaling. As song styles are discussed and demonstrated in class, students will be assigned various musical song-forms over which to compose their personal narrative. There is an expectation of basic song-form knowledge, vocal skills, self-accompaniment and harmonic knowledge. Students will perform short assignments and their final full songs in class for support and critique.
This course is a natural progression of PSVC-P440, Vocal Perspectives on Songwriting 1. An important underlying theme of this course is the knowledge that the singer can be the center and generator of the song. Students will be encouraged to develop catalogues comprised of personal, autobiographical songs created throughout the course. Journaling, active listening, field trips, and highly specific exercises will be employed to generate songwriting and song ideas. Songs will be performed in class. Students must self-accompany in this class, and the semester will culminate in a class performance.
In this course for non-percussion principals students focus on the development of basic techniques and sound production using the North African tar frame drum. The mathematical rhythm system from South India is explored to create phrases in 4, 5, 6, 7, and 8 with an emphasis on independence, ankle bells, and spoken drum vocables. Rhythms and concepts will also be rendered using harmonic time.
In this course for percussion principals students focus on the development of basic techniques and sound production using the North African tar frame drum. The mathematical rhythm system from South India is explored to create phrases in 4, 5, 6, 7, and 8 with an emphasis on independence, ankle bells, and spoken drum vocables. Rhythms and concepts will also be rendered using harmonic time.
A study of traditional music and culture chosen from the ten regions of Ghana, West Africa. Dance music, from various ethnic groups such as, Ewe, Asante, Dagomba, and Dagara, will be taught. The main learning approach will be primarily oral tradition, with a focus on technique, rhythmic sensibility, and dialogue conversation, which are typical in the music.
A study of traditional music and culture chosen from the four regions of Guinea, West Africa. Dance music from various ethnic groups such as Susu, Mandinka, Soninke, Bambara, Mende, and Baga will be taught. The main learning approach will be primarily oral tradition, with a focus on technique, rhythm sensibility, and dialogue conversation, which are typical in the music.
A study of Latin American vocal styles and rhythms that includes Brazil, Argentina, Cuba, Mexico, and Puerto Rico. Students will learn the history and culture of Latin American styles and rhythms through listening and analysis, transcribing, and video performances.
Focused on South Indian rhythmic solfege, this course explores both North and South Indian melodic concepts, the raga system and tala system. Basic pulse is strengthened, and complex polyrhythms are learned by vocal recitations and hand-clapping patterns. These exercises and patterns are then applied to the student's instrument and used in improvisation. Emphasis is placed upon superimposing different groupings over various meters, thus creating interesting phrasings and broadening rhythmic vocabulary. In addition to Indian rhythms, some West African and Brazilian rhythms will be covered. Play-along recordings with different harmonic progressions will be used. Improving swing feel will also be emphasized. Solo transcriptions of jazz and classical Indian music will be used as examples of superimposed rhythmic groupings and subdivisions. The students are expected to invent their own exercises and be able to perform them in class. Examples of these rhythmic concepts in composition will be discussed and played in class.