|
| Module Availability |
| Semester 1 |
|
|
| Assessment Pattern |
Solo Performance (6 to 8 minutes) - 60%
Ensemble Performance (4 to 5 minutes)* - 40%
*Reassessment method:
The ensemble work will be replaced by written coursework |
|
|
| Module Overview |
The purpose of this module is to enable you to develop basic independentlearning skills inyour individual instrumental/vocal discipline, and to expand yourperforming skills as botha solo and an ensemble performer.
You will also develop further skills and responsibility in event management. In addition to your assessed performance you will be required to perform at least once on an unassessed basis.
All performance assessments at HE1 will be held in private.
Ensemble performances must have between 2 and 5 players in total.
|
|
|
| Prerequisites/Co-requisites |
| Pre-requisite: Normally, Associated Board Grade 8 or equivalent |
|
|
| Module Aims |
| To develop a range of skills appropriate to your instrumental/vocal requirements as both solo and ensemble performer. |
|
|
| Learning Outcomes |
By the end of this module you should be able to:
• demonstrate an enhanced understanding of the need for and purpose of a professional approach to music-making
• use an increasing range of technical/musical skills appropriate to your repertoire and suitable as a foundation for further study
• use a number of your own practice and rehearsal techniques, and applying them appropriately
• identify a range of interpretative decisions and determine their suitability
• demonstrate an enhanced ability to communicate with your audience
• apply your knowledge of concert protocol in practical situations
• demonstrate a greater awareness, sensitivity and understanding as an ensemble participant
• demonstrate an enhanced responsiveness to the musical needs of other performers
Transferable skills
• Time management
• Non verbal communication
• Independent learning
• Self confidence and assurance
• Ability to make quick and intuitive critical judgments
|
|
|
| Module Content |
| Participation in rehearsals and concerts, both as solo and ensemble player. |
|
|
| Methods of Teaching/Learning |
Individual tuition
Individual practice
Concerts (both as audience and as participant)
Rehearsals (both with and without a conductor)
Coaching in small groups
Performance seminars
Performance practice
Private listening
Tutorials
|
|
|
| Selected Texts/Journals |
|
|
|
| Last Updated |
Recommended reading
Day, Timothy, 2000: A Century of Recorded Music: Listening to Musical History
(New Haven, Conn.: Yale University Press)
Gallwey, Timothy, 1986: The Inner Game of Tennis (Basingstoke: Pan Macmillan)
Gordon, Stewart, 2006: Mastering the Art of Performance: A Primer for Musicians
(Oxford: Oxford University Press)
Green, Barry, and Gallwey, Timothy, 1987: The Inner Game of Music (Basingstoke: Pan Macmillan)
Jones, Katie, 2000: Keeping your nerve – Confidence Boosting Strategies for Musicians and Performers (London: Faber Music)
Williamon, Aaron, 2004: Musical Excellence: Strategies and techniques to enhance performance (Oxford: Oxford University Press)
|
|
