Tuesday, Thursday 9:30 - 10:50 AM
Instrumental Conducting is designed as a “capstone” course to provide students with a continuing study of artistic and professional issues related to three main areas: Music Education, Music Performance, and Music Administration. The design of the course allows the instructor as well as the students to progress in an environment that cultivates personal, social, and musical growth. Within this design, assignments are given in two main forms: Online Assignments (specifically completed online) and Classroom Assignments (work completed for in-class assessment). Assignments for this class reflect each of the three main areas, broken down into the following categories:
Music Performance (approximately 60% of the course load)
· Continued Development of characteristic individual conducting skills as well as higher level psychological conducting
· Performance Practice for Beginning, Intermediate, and Advanced Instrumental Ensemble (including Symphony Orchestra)
· Rehearsal Techniques
· Podium Leadership
· Music Phrasology, Instrument Comprehension, and Transposition
· Score Analysis
· Listening Analysis
Music Education (approximately 20% of the course load)
· Selection and Review of Quality Literature
· Developing Lesson and Rehearsal Plans
· Program Leadership Off the Podium
Music Administration (approximately 20% of the course load)
· Contests and festivals
· Music handbooks
OVERVIEW OF STUDENT LEARNING OUTCOMES
Upon successful completion of MUSC 4853 the student will be able to:
· Possess and utilize a complete repertoire of gestures, movements, and facial expressions designed to enhance ensemble preparation in rehearsal and performance.
· Write a daily rehearsal schedule.
· Discuss the contents of a program handbook.
· Create a grading system for instrumental music.
· Explain the development of budgets.
· Locate music web quests and describe their application to secondary instrumental instruction.
· Select concert, solo, and ensemble literature that is the appropriate level of difficulty for secondary music students.
· Complete adjudication forms for ensemble auditions.
· Create a concert program, including instructions regarding audience etiquette and advertisements.
· Create a unified and systematic rehearsal plan for a large ensemble concert cycle.
· Synthesize multiple approaches to the rehearsal process relating to large ensemble practice and performance.
Assignments and Tests (50%)
Students are expected to turn in all assignments on time. Assignments are due at the beginning of class. Late assignments will only be accepted in the event of an excused absence. Assignments will be handed out prior no closer than one week to the date due.
Score Evaluations and Analyses
Each week you will have two pieces of music for study. All of these pieces of literature can be found (quite easily) on Naxos through your MSU account. The list includes one piece of exceptional value. Each listening assignment shall include a one-page form (provided by the instructor) on the piece, describing in full detail the sounds that you hear. This assignment is due the Monday of each given week. These are graded on a completed/not-completed basis. They will not be handed back.
Midterm Exam (20%)
The midterm exam will be a comprehensive written test based on the material covered during the semester, including listening. A review guide will be provided no less than one week before the exam. This will reflect all of the work you have put in over the course of the semester (MUSC 4853).
Final Exam (20%)
The final exam will be a comprehensive written test based on the material covered during the semester, including listening. It will also include conducting a group of ensemble members. Ensemble(s) will be assigned by date of availability and literature selection is done in conjunction with the student and instructor.
Battisti, F. (1995). The twentieth century American wind/band ensemble: History, development and literature. Fort Lauderdale, FL: Meredith Music.
Battisti, F. (2002). The winds of change. Galesville, MD: Meredith Publications.
Cooper, L. G. (2004). Teaching band and orchestra. Chicago, IL: GIA Publications, Inc.
Fennell, F. (1954). Time and the winds. Kenosha, WI: LeBlanc Publications, Inc.
Whitwell, D. (1985). A concise history of the wind band. St. Louis, MO: Shattinger Music.
Various. Teaching Music through Performance. (Series) Chicago, IL: GIA Publications, Inc.
Bailey, W. (2009) Conducting: The Art of Communication. Oxford University Press.
This list could go on ……and on!
The grading will be represented by the following formula:
10% Attendance/Active Discussion/Participation
50% Listening Assignments and Conducting Examples
20% Midterm Exam (w/ listening exam)
20% Final Exam (w/ listening exam)
Grading Scale: Refer to University Code regarding + and – grading scale.
A = 90 – 100 B = 80 – 89 C = 70 – 79 D = 60 – 69 F = 0 – 59
Attendance/Active Discussion/Participation (10%)
Students are expected to attend the class sessions and participate actively in discussions and presentations.
Attendance Policy: 2 unexcused absences will result in the maximum grade of a B, 3 unexcused-maximum grade of C, 4 unexcused-maximum grade of D, any more and you should probably drop the class. This is your career. Make the most of it!
Excused absences are defined as illness (with a physician’s note), family emergency (with a release from the Dean of Students), or a University related event or activity (with prior approval).
This grade also includes all participation in large ensemble rehearsal. Everyone is expected to perform in the ensemble (as needed).
All students will be required to bring their instruments to class (this will be discussed in class). Your participation will be highly important to the structure of the class.
TENTATIVE LECTURE/TOPIC SCHEDULE
8/27 Syllabus review/Music Education: Buzz Words: Educator – Teacher – Musician – Conductor
8/29 Personal Philosophy of Conducting/Diagnostic Exam (given three times, you must pass this to pass the course)
9/3 Score Study: Overview 1
9/10 Macro-Micro-Macro 2
9/12 Teaching the Elements of Music
9/17 The Basics of Conducting 3
9/19 Preparatory Gestures
9/24 Expression in Conducting 4
9/26 Expression in Conducting
10/1 Basic Releases 5
10/3 Left Hand Releases
10/8 Subdivision 6
10/10 Laban Technique and its applications to conducting movement
10/15 Midterm Examination 7
10/17 Advanced Techniques
10/22 Articulations and Style 8
10/29 Accented Pitches, Cues, Fermata 9
11/5 Tempo Fluctuations and Maintenance 10
11/7 Prep Beats for Syncopated Entrances
11/12 Mixed Patterns, Unmetered, and Timed Measures 11
11/14 Use of the Left Hand
11/19 Error Detection – Rhythm/Articulation/Style 12
11/21 Error Detection – Rhythm/Articulation/Style
11/26 Error Detection – Pitch/Intonation/Dynamics/Balance 13
11/28 NO CLASS - Thanksgiving
12/3 Error Detection – Pitch/Intonation/Dynamics/Balance 14
12/5 Final Wrap Up
12/10 FINAL EXAM (8:00-10:00 AM)