MUS 106 Ensemble Communication and Direction - Course Outlines

Course Prescription

An examination of the skills and techniques required for the communication and direction of ensembles including orchestras, bands, jazz and contemporary ensembles, choirs and other performing arts contexts. Includes knowledge of repertoire style, genre and period associated with directing music.

Course Overview

This course offers an examination of the skills and techniques required for the communication and direction of ensembles including choirs, orchestras, bands, jazz and contemporary ensembles and other performing arts contexts.

It offers an introduction to the study of conducting and ensemble direction, which includes critical listening, work on gesture, communication, conducting patterns and rhythm/pulse.

The direction and communication study undertaken includes verbal and nonverbal gesture and is aimed at quality ensemble instruction including knowledge of repertoire, style, genre and period associated with directing music.

Course Requirements

No pre-requisites or restrictions

Learning Outcomes

By the end of this course, students will be able to:

Demonstrate good alignment and hand position with an understanding of the quality of the conductor’s tonus, impulse and flow. (Capability 3.1, 3.2, 4.1, 5.1, 6.1, 7.1, 8.1 and 8.2)
Communicate insight through listening; articulate and reflect on how a conductor interprets the musical ideas in chosen musical examples (Capability 3.1, 3.2, 4.1 and 6.1)
Demonstrate rhythmic and metrical proficiency showing profciency in and understanding of patterns 2/4,3/4, 4/4. 3/8 ( quaver equivalence), 5/4, 6/8 with consistent internal rhythm. Demonstrate an ability to control musical transitions between rubato and computer-generated timekeeping in an ensemble setting Demonstrate polyrhythmic relationships 3:2, 4:3 and rhythm scale subdivisions over pulse (Capability 3.1, 3.2, 4.1, 5.1 and 6.1)
Communicate and engage with the ensemble with clear conducting gesture and verbal instructions Demonstrate an awareness of modern stage etiquette. Demonstrate verbal swing articulation at ballad, medium and breakneck tempos (Capability 3.1, 3.2, 4.1, 5.1, 6.1, 7.1, 8.1 and 8.2)

Assessments

Assessment Type	Percentage	Classification
Assignments	40%	Individual Coursework
Practical Tests	60%	Individual Coursework
2 types	100%

Assessment Type	Learning Outcome Addressed
	1	2	3	4
Assignments
Practical Tests

Assignments are to be submitted, according to the submission type specified on CANVAS, by the due date. In the event of illness or other circumstances that prevent completing an assignment, please contact the course coordinator with independent evidence as appropriate before the due date. Late assignments that do not have an approved extension will be penalized 10% for each day or part thereof. No assignment will be accepted after that assignment has been returned to students.

Teaching & Learning Methods

This course comprises one two-hour lecture and one one-hour seminar per week, and attendance at and/or participation in rehearsals on a regular basis.

The classes are largely interactive with personal and group work, which allows the opportunity for skill acquisition with direct formative feedback on a weekly basis. Students can record their own work on their own device.

1:1 sessions with the lecturer may be available for individual students to discuss and review their work, in class and in office hours.

The teaching strategies are designed to foster the basic set of transferable skills, which will assist the skills student as a leader and director of an ensemble.

The first part of the course gives an all-important introduction to ensemble leadership, through conducting gesture and the elements of human communication, with specific reference to the rehearsal and the performance.

The middle weeks focus on studies in internal rhythm and pulse with an introduction to swing phrasing and counting, and understanding polyrhythm and cross-rhythm phrasing.

The later portion focuses on the introduction and practice of integrating both live and pre-recorded elements for performance and the roles a modern musical director must oversee.

Through the study of practice scores and recordings, students will take part in conducting exercises with their peers. There will be a focus on developing 􏰅flexibility as a musical director through a combination of applied technique, technical know-how and stage presence. Discussing different approaches to modern stage etiquette helps prepares students for a wide range of performance opportunities in the music industry.

Whatever the focus of a student’s undergraduate training, the ability to lead and conduct an ensemble is hugely valuable for young musicians. It is highly desirable that students will take with them, at the conclusion of their undergraduate degree, a set of transferable skills that will enable them to contribute to music-making in the community and in the schools, with confidence and leadership. Skills gained from performing in ensembles, whether playing or singing, also represent a critical part of their training.

Workload Expectations

This course is a standard 15 point course and students are expected to spend 10 hours per week involved in each 15 point course that they are enrolled in.

For this course, you can expect 36 hours of lectures, 110 hours of reading, studying, rehearsing content and preparing assignments and 4 hours of tests.

Delivery Mode

Campus Experience

Attendance is expected at scheduled activities to complete components of the course. While lectures are audio recorded, in person attendance is essential for the success in the course. Attendance on campus is required for the tests. The activities for the course are scheduled as a standard weekly timetable.

Learning Resources

Course materials are made available in a learning and collaboration tool called Canvas which also includes reading lists and lecture recordings (where available).

Please remember that the recording of any class on a personal device requires the permission of the instructor.

All course readings are available via Reading Lists on Canvas. The first group of texts listed below are useful for reference, especially McElheran(1989)

McELHERAN, Brock* Conducting for Beginners and Professionals OUP, Rev. ed.1989

BOWEN, José Antonio Ed.* The Cambridge Companion to Conducting, Cambridge University Press, 2003

KUHNKE, Elizabeth Body Language Hoboken: Capstone, 2016

LAWSON, Colin Ed.* The Cambridge Companion to the Orchestra, CUP, 2003 PHILLIPS, Kenneth H. Basic Techniques of Conducting New York; OUP, 1997 WEBB,

DVD-V 05-021 Valéry Gergiev in Rehearsal and Performance DVD-V 05-026 Celibidache’s Garden

DVD-V 05-043* In Rehearsal: Mariss Jansons

DVD-V 05-102* John Elliot Gardiner in Rehearsal

DVD-V 06-011* Conducting from the inside out DVD-V 06-044 Conducting Mahler...

http://www.bbc.com/news/entertainment-arts-25155333 10 Tips from Esa-Pekka Salonen https://www.youtube.com/watch?v=0otfQGoU13U Great Conductors in Rehearsal https://www.youtube.com/watch?v=Crfs0yJWC8s Great Conductors of the Golden Era http://www.marinalsop.com/about/marin-qa/ Marin Alsop, Q & A

Logic X software is available to students in the KMC and Kate Edger computer labs. Although it is not required to have advanced knowledge of the program, it will be used in class examples and exercises.

Student Feedback

At the end of every semester students will be invited to give feedback on the course and teaching through a tool called SET or Qualtrics. The lecturers and course co-ordinators will consider all feedback and respond with summaries and actions.

Your feedback helps teachers to improve the course and its delivery for future students.

Class Representatives in each class can take feedback to the department and faculty staff-student consultative committees.

Students will be provided with earlier access to upcoming lecture materials.

Other Information

Attendance in class, as well as engagement with course activities and readings, is vital to academic success. Owing to the nature of music teaching and learning, consistent attendance is essential at all lectures, tutorials and studio lessons. Students must make every effort to attend class and complete all the necessary in-class requirements. All planned absences (such as overseas competitions, family events, masterclasses or work-related commitments) must be pre-approved by the Head of School. If approval is given, all Course Coordinators, Tutors and other teachers must be informed of your absence in advance.

It is students’ personal responsibility to make up all work missed, as individual catch-up classes will not be available.

Academic Integrity

The University of Auckland will not tolerate cheating, or assisting others to cheat, and views cheating in coursework as a serious academic offence. The work that a student submits for grading must be the student's own work, reflecting their learning. Where work from other sources is used, it must be properly acknowledged and referenced. This requirement also applies to sources on the internet. A student's assessed work may be reviewed for potential plagiarism or other forms of academic misconduct, using computerised detection mechanisms.

Class Representatives

Class representatives are students tasked with representing student issues to departments, faculties, and the wider university. If you have a complaint about this course, please contact your class rep who will know how to raise it in the right channels. See your departmental noticeboard for contact details for your class reps.

Inclusive Learning

All students are asked to discuss any impairment related requirements privately, face to face and/or in written form with the course coordinator, lecturer or tutor.

Student Disability Services also provides support for students with a wide range of impairments, both visible and invisible, to succeed and excel at the University. For more information and contact details, please visit the Student Disability Services’ website http://disability.auckland.ac.nz

Special Circumstances

If your ability to complete assessed coursework is affected by illness or other personal circumstances outside of your control, contact a member of teaching staff as soon as possible before the assessment is due.

If your personal circumstances significantly affect your performance, or preparation, for an exam or eligible written test, refer to the University’s aegrotat or compassionate consideration page https://www.auckland.ac.nz/en/students/academic-information/exams-and-final-results/during-exams/aegrotat-and-compassionate-consideration.html.

This should be done as soon as possible and no later than seven days after the affected test or exam date.

Learning Continuity

In the event of an unexpected disruption we undertake to maintain the continuity and standard of teaching and learning in all your courses throughout the year. If there are unexpected disruptions the University has contingency plans to ensure that access to your course continues and your assessment is fair, and not compromised. Some adjustments may need to be made in emergencies. You will be kept fully informed by your course co-ordinator, and if disruption occurs you should refer to the University Website for information about how to proceed.

Student Charter and Responsibilities

The Student Charter assumes and acknowledges that students are active participants in the learning process and that they have responsibilities to the institution and the international community of scholars. The University expects that students will act at all times in a way that demonstrates respect for the rights of other students and staff so that the learning environment is both safe and productive. For further information visit Student Charter https://www.auckland.ac.nz/en/students/forms-policies-and-guidelines/student-policies-and-guidelines/student-charter.html.

Disclaimer

Elements of this outline may be subject to change. The latest information about the course will be available for enrolled students in Canvas.

In this course students may be asked to submit coursework assessments digitally. The University reserves the right to conduct scheduled tests and examinations for this course online or through the use of computers or other electronic devices. Where tests or examinations are conducted online remote invigilation arrangements may be used. In exceptional circumstances changes to elements of this course may be necessary at short notice. Students enrolled in this course will be informed of any such changes and the reasons for them, as soon as possible, through Canvas.

Capability 3:	Knowledge and Practice
Capability 4:	Critical Thinking
Capability 5:	Solution Seeking
Capability 6:	Communication
Capability 7:	Collaboration
Capability 8:	Ethics and Professionalism

MUS 106 : Ensemble Communication and Direction

Creative Arts and Industries

2024 Semester One (1243) (15 POINTS)