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| Module Availability |
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| Assessment Pattern |
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Coursework (40% of the total assessment)
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· work in seminars and rehearsals (with small and large ensembles)
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10%
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· a piece of written work to be agreed with the Conducting tutor (2,000 words)
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10%
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· reflective diary (maximum 2,000 words)
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10%
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· administration
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10%
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Examination (60% of the total assessment)
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· one concert appearance in the Spring semester with a small ensemble, and its rehearsals
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20%
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· one concert appearance in the Spring semester with a large ensemble, and its rehearsals
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20%
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· conducting test (Spring Semester)
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10%
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· viva voce examination (Spring Semester)
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10%
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| Module Overview |
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| Prerequisites/Co-requisites |
A mark of at least 60% in Conducting 2; and the permission of the Module Convenor.
In conjunction with HE3 Ensemble |
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| Module Aims |
To develop your skills as a conductor to a level that aspires to the professional.
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| Learning Outcomes |
| By the end of this module you should be able to:
· demonstrate a physical, gestural technique for communicative conducting
· apply such skills to a wide range of music
· demonstrate a professional approach to score preparation, rehearsal planning, concert presentation, and associated aspects of administration.
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| Module Content |
Phenomenological analysis of phrasing, rhythm tempo, structural tension, etc, in direct relationship to performance; score analysis, preparation and memorising; techniques of rehearsing; critical evaluation of recorded performances; administration, the writing of programme notes. Participation as a conductor (and as assistant, e.g. orchestral sections) in various events in the Department as agreed with the convenor. It is expected that, for the 40-credit module, you will take a leading rôle in terms of quantity and range of events. Preparation for the viva voce examination.
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| Methods of Teaching/Learning |
Weekly two-hour seminars, plus individual coaching by the Conducting tutor as required. Observation of others' rehearsals. Your own rehearsals will be observed by the tutor or their substitute and may be recorded on video-tape for subsequent analysis sessions. |
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| Selected Texts/Journals |
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Required Reading:
Adey, Christopher, 1998: Orchestral Performance: A Guide for Conductors and Players (London: Faber and Faber)
Suggested Reading:
Williamon, Aaron, 2004: Musical Excellence: Strategies and techniques to enhance performance (Oxford: Oxford University Press)
Lawson, Colin, and Stowell, Robin, 1999: The Historical Performance of Music: An Introduction (Cambridge: Cambridge University Press)
Gordon, Stewart, 2006: Mastering the Art of Performance: A Primer for Musicians (Oxford: Oxford University Press) |
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| Last Updated |
| 14.10.2008 |
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