| Module Code: MUS3065 |
Module Title: PERFORMANCE 3A
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Module Provider: Music and Sound Recording
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Short Name: MUS3065
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Level: HE3
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Module Co-ordinator: WILLIAMSON C Mr (Music Record)
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Number of credits: 15
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Number of ECTS credits: 7.5
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| Module Availability |
| Semester 1 |
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| Assessment Pattern |
Choice of weighting. EITHER:
Solo performance (10-15 minutes) AND ensemble performance (5 minutes)* - 80% and 20%
OR
Solo performance (5 minutes) AND ensemble performance (10-15 minutes)* - 20% and 80%
*Reassessment method
Ensemble work will be replaced by written coursework.
At least 60% in either Performance 2A or Performance 2B, 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 enable you continue to extend your independentlearning skills inyour individual instrumental/vocal discipline, and to build upon the skills and techniques learned at HE2 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 HE3 will be held in formal concerts.
Ensemble performances must have between 2 and 5 players in total.
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| Prerequisites/Co-requisites |
| Pre-requisite: Performance 2A or Performance 2B; 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 thorough 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
• a significant number of your own practice and rehearsal techniques, and confidence applying them appropriately without guidance
• a deeper understanding of the range and suitability of interpretative decisions, and the ability to apply these decisions with confidence
• strong self-confidence on stage and the ability to cope with contingencies of performance
• ease and command in communication with your audience
• secure appreciation of the workings of concert protocol, an understanding of the need for it
• a high level of awareness, sensitivity and understanding as an ensemble participant
• a high level of responsiveness to the musical needs of other performers
• a wide knowledge and in-depth understanding 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
• Team leadership
• Team building
• 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
Brown, Clive, 2003: Classical and Romantic Performance Practice 1750-1900
(Oxford: Oxford University Press)
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)
Lawson, Colin, and Stowell, Robin, 1999: The Historical Performance of Music: An Introduction
(Cambridge: Cambridge University Press)
Leppert, Richard ed. and McClary, Susan ed. 1996: Music and Society: The Politics of Composition, Performance and Reception (Cambridge: Cambridge University Press)
Mackworth-Young, Lucinda, 2000: Tuning in - Practical Psychology for Musicians who are Teaching, Learning and Performing (Swaffam: MMM publications)
Taruskin, Richard, 1995: Text and Act: Essays in Musical Performance
(Oxford: Oxford University Press)
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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