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| Module Availability |
Semester 2 |
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| Assessment Pattern |
Choice of weighting. EITHER:
Solo performance (8-12 minutes) AND ensemble performance (3-5 minutes)* - 60% and 30%
OR
Solo performance (3-5 minutes) AND ensemble performance (8-12 minutes)* - 30% and 60%
Reflective diary (1,000 words) - 10%
*Reassessment method
Ensemble work will be replaced by written coursework.
At least 60% in either Performance 1A or Performance 1B, or an average mark of both if appropriate; and the permission of the Module Co-ordinator.
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| Module Overview |
The purpose of this module is to help you continue to develop an increasing range of independentlearning skills inyour individual instrumental/vocal discipline, and to enable you to capitalise on and develop further yourperforming skills as a 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 HE2 will be held in informal concerts.
Ensemble performances must have between 2 and 5 players in total.
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| Prerequisites/Co-requisites |
| Pre-requisite: Performance 2a; or (exceptionally) audition |
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| Module Aims |
To develop further a range of skills as both solo and ensemble performer.
To explore your own interests in repertoire, and to discover further areas of repertoire new to you.
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| Learning Outcomes |
By the end of this module you should be showing:
• a significantly greater understanding of the need for and purpose of a professional approach to music-making
• an ever-increasing range of technical/musical skills appropriate to your repertoire and suitable as a foundation for further study
• an increasing number of your own practice and rehearsal techniques, and applying them appropriately
• a deeper understanding of the range and suitability of interpretative decisions
• growing self-confidence on stage
• a developing ease in communication with your audience
• greater appreciation of the workings of concert protocol, an understanding of the need for it
• greater awareness, sensitivity and understanding as an ensemble participant
• a greatly enhanced responsiveness to the musical needs of other performers
• an increased awareness of the range of repertoire available to you, and appreciation of its place in musical history
Transferable skills
• Team-working
• Time management
• Non verbal communication
• Independent learning
• Self confidence and assurance
• Ability to make quick and intuitive critical judgments
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| Module Content |
| Participation in rehearsals and concerts, both as solo and ensemble player. |
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| 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
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| Selected Texts/Journals |
Recommended reading
Butt, John, 2002: Playing with History: The Historical Approach to Musical Performance
(Cambridge: Cambridge University Press)
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)
Inglis, Ian, 2006: The Performance of Popular Music: History, Place and Time (London: Ashgate)
Jones, Katie, 2000: Keeping your nerve – Confidence Boosting Strategies for Musicians and Performers (London: Faber Music)
Mackworth-Young, Lucinda, 2000: Tuning in - Practical Psychology for Musicians who are Teaching, Learning and Performing (Swaffam: MMM publications)
Williamon, Aaron, 2004: Musical Excellence: Strategies and techniques to enhance performance (Oxford: Oxford University Press)
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| Last Updated |
| CW 16/3/11 |
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