I. ASCRC General Education Form (revised 3/19/14)
Use to propose new general education courses (except writing courses), to change or
renew existing gen ed courses and to remove designations for existing gen ed courses.
Note: One-time-only general education designation may be requested for experimental courses
(X91-previously X95), granted only for the semester taught. A NEW request must be
submitted for the course to receive subsequent general education status.
Group
II. Mathematics
VII: Social Sciences
(submit separate
III. Language
VIII: Ethics & Human Values
forms if
X III Exception: Symbolic Systems * IX: American & European
requesting more
IV: Expressive Arts
X: Indigenous & Global
than one
V: Literary & Artistic Studies
XI: Natural Sciences
general
w/ lab  w/out lab 
education group
VI: Historical & Cultural Studies
designation)
* Require a Symbolic Systems Request Form.
Dept/Program
Course #
School of Theatre & Dance: BFA in
U THTR 211
Theatre, Acting Specialization
Course Title
Voice & Speech II
Prerequisite
Credits
THTR 210: Voice & Speech I
3
II. Endorsement/Approvals
Complete the form and obtain signatures before submitting to Faculty Senate Office
Please type / print name Signature
Date
John Kenneth DeBoer
x2018
john.deboer@umontana.edu
Program Chair Michael Monsos
x5138
Dean
Dr. Stephen Kalm
x4970
III. Type of request
New
One-time Only
Renew
Change
Remove
X
Reason for Gen Ed inclusion, change or deletion
Description of change
IV. Description and purpose of the general education course: General Education courses
must be introductory and foundational within the offering department or within the General
Education Group. They must emphasize breadth, context, and connectedness; and relate course
content to students’ future lives: See Preamble:
http://umt.edu/facultysenate/archives/minutes/gened/GE_preamble.aspx
As a continuation of the work in THTR 210: Voice and Speech I, the purpose of this course is to broaden
the student’s awareness of the sounds of spoken English and how these sounds affect the actor in
performance. Students will develop a methodical approach to the imaginative processes of vocal play,
standard speech, character voice, and dialects.
Instructor
Phone / Email
This is the second semester of a three-semester symbolic system sequence in Voice & Speech.
V. Criteria: Briefly explain how this course meets the criteria for the group. See:
http://umt.edu/facultysenate/documents/forms/GE_Criteria5-1-08.aspx
Students continue to apply the symbols of the
International Phonetic Alphabet (IPA) and poetic
scansion to the documentation and refinement of
their vocal performances.
Applies analysis, reasoning and creative thinking Through ear training, performance, and
in the understanding and manipulation of
transcription, students will learn to recognize
symbolic codes.
individual phonemes (distinct units of sound
recognized by a language) and their
accompanying IPA symbol. They will begin to
transcribe and describe spoken text using IPA.
Utilizes alternative methods of communication,
Students learn IPA in conjunction with poetic
perception, and expression in order to encourage scansion and the study of Shakespeare as well
rigorous thinking.
as performing alternate and standardize dialects
of English. This allows students to recognize
their own dialect of English and alter it on stage
to fit a character.
VI. Student Learning Goals: Briefly explain how this course will meet the applicable learning
goals. See: http://umt.edu/facultysenate/documents/forms/GE_Criteria5-1-08.aspx
1. Demonstrate an understanding of the symbols Students must continue to apply both IPA and
and the transformations of the system.
poetic scansion to the documentation and
refinement of their vocal performances.
2. Relay and interpret information in terms of
Students will continue to apply the four-step
the given symbolic system.
process of scansion and transcription to learn
and perform general and standardized stage
dialects of English: Received Pronunciation
(Standard British), Mid-Atlantic Stage Standard,
and Stage Cockney.
3. Apply creative thinking using the symbolic
Students apply the skills learned to real-life
system in order to solve problems and
character studies, documenting the sounds and
communicate ideas.
rhythms of another person and using that
documentation to create a performance of that
person and their voice/speech as a dramatic
character monologue.
VII. Assessment: How are the learning goals above measured? Please list at least one
assignment, activity or test question for each goal.
1. Dialect Documentation (Scansion and Transcription)
2. Dialect Performances
3. Real-Life Character Studies
VIII. Justification: Normally, general education courses will not carry pre-requisites, will
carry at least 3 credits, and will be numbered at the 100-200 level. If the course has more than
one pre-requisite, carries fewer than three credits, or is upper division (numbered above the 200
level), provide rationale for exception(s).
See Symbolic Systems Exemption Application.
IX. Syllabus: Paste syllabus below or attach and send digital copy with form.  The syllabus
should clearly describe learning outcomes related to the above criteria and learning goals.
See below.
Please note: Approved general education changes will take effect next fall.
Rigorously presents a mapping between a realworld system and a human abstraction of the
system.
General education instructors will be expected to provide sample assessment items and
corresponding responses to the Assessment Advisory Committee.
Voice & Speech II - THTR 211 – 01
3 Credits MW 9:40 – 11:00 AM McGill 125
Prerequisite: THTR 210
Instructor – John Kenneth DeBoer
Office – McGill 212B
Email – john.deboer@umontana.edu
Office Hours – MWR 1-2 PM
Course Description
As a continuation of the work in THTR 210: Voice and Speech I, the purpose of this
course is to broaden your awareness of the sounds of spoken English and these
sounds affect the actor in performance. Students will develop a methodical
approach to the imaginative processes of vocal play, standard speech, character
voice, and dialects.
Objectives
 Approach the performance of prose text with the same poetic specificity of
scanned verse drama
 To continue applying the IPA in refined descriptive transcription—what is
actually heard in scene work—and prescriptive tactical transcription in
pursuit of specific acting objectives
 To continue to developing a personal “Career Speech” integral to the your
professional aspirations
 To study the vocal subtleties of creating characters through imaginative vocal
play, standardized dialect studies, and real-life character studies
By the end of the semester you must…
 Demonstrate an expanded use of breath to support both voice and movement
 Exhibit marked improvement in clear phonation, projection, and volume
 Understand, recognize, and notate the poetry inherent in all dramatic texts
 Be able to hear, notate, and clearly phonate the sounds of colloquial speech,
standard speech, character voices, and dialects
 Incorporate all skills learned in the studio into daily life and the practice of
acting
General Education
Students accepted into the BFA Acting program may use the sequence of THTR 210,
211 and 310 to fulfill the Group III, Symbolic System Exception for General
Education in place of the Group III, Modern and Classical Languages option. BA
Theatre students must complete the Group III, Modern and Classical Language
option for graduation. NO EXCEPTIONS.
Teaching Assistant
We have a wonderful teaching assistant with us this semester. The TA will be
present during all activities and is available to supplement instruction and feedback
should the need arise. Please pay the TA the same level of attentiveness and respect
that you show to me.
Required Materials
 Meier, Paul. Accents & Dialects for Stage and Screen. Revised/Expanded ed.
Lawrence, Kan.: Paul Meier Dialect Services, 2012. Print
 Rodenburg, Patsy, and Patsy Rodenburg. Speaking Shakespeare. New York:
Palgrave Macmillan, 2002. Print.
 Computer and Internet access to upload assignments to Moodle
 Recording equipment with the ability to save files in MP3 or other
compressed formats. Most phones, tablets, and laptops have such
capabilities.
 Clothes that support movement. Be prepared to work barefoot. If you must
wear socks, please wear those that have slip resistant padding.
 Tickets all School of Theatre and Dance drama performances this semester.
Theatre majors are entitled to one ticket via their “majors card.” All declared
Majors receive a “majors card” from Erin McDaniel in the first weeks of the
semester. General Education students must purchase tickets at the UMArts
Box Office in the PARTV Building. Plan ahead and purchase your tickets
before the night of the show.
Attendance and Promptness
Acting is participatory: there is no way to learn without doing, no adequate
substitute for a missing partner, and no way to “make up” missed experience. School
policies will be enforced strictly. Only documented absences will be excused.
Missing more than two classes will drop your grade one-third of a letter for
each successive absence.
Grading Scale and Breakdown
A
100 – 90%
B
89 – 80%
C
79 – 70 %
D
69 – 60%
F
59 and Below
Participation:
Writing/Research:
Performances
Professional Growth:
30%
30%
30%
10%
Participation
In addition to the attendance policy, for each class session you will receive a grade
on a scale from zero to five.
5
The student was actively participating in class, well prepared, and
positively engaged with the material and fellow classmates.
4
The student was present, somewhat prepared, but not fully
engaged
3-0
absent
The student was unprepared, disruptive, disrespectful, or
A solid work ethic is expected so high marks should be the norm. Poor work will
stand out. Students receiving low marks for participation should meet with me to
discuss the problem and how it will be resolved.
Skill Assessment
Your performance and professional growth grades are my evaluation of how your
technical skills have developed over the course of the semester. The following scale
will be used to assess your performances and professional growth throughout the
semester:
A
Superb Acting. The student has transcended the level of craft
brought to the course, mastered the intellectual preparation, and
has begun to play imaginatively “in the moment.”
B
Good Skills. The student has mastered the intellectual
preparation necessary to move on to more advanced skills, but is
not yet playing fully “in the moment.”
C
Fair Work. The student is somewhat prepared intellectually for
the work, and is making progress, but it is evident that stronger
choices could be made and more practice is necessary.
D
Poor work. The student has not or is not prepared fully for the
work and it is painfully obvious to the both the student and the
audience.
F
Failure. The student has not or is not prepared at all, has made no
specific choices, and is wasting theirs and the audience’s time.
Hopefully you will develop the voice and speech skills necessary to begin playing “in
the moment.” However participation is often not enough. You are expected to show
some growth in craft and artistry by the semester’s conclusion and achieve the
outcomes laid out at the beginning of the syllabus.
Readings, Assignments, and Performances
All assignments, readings, handouts and recordings will take place on Moodle this
semester. You are expected to check the web daily. All written work must be
properly formatted, typed, and submitted as a PDF document by the beginning of
class on the date due. I will not accept paper copies. If Moodle is down, use email as
your alternate submission option.



Modern Prose Performances
Character Voice Performances
Stage Dialect Performances
All performances will require audio recordings and some level of poetic and
phonetic documentation. Each writing assignments will be outlined on Moodle with
a specific rubric that must be followed.
Assignments may be turned in late for partial credit. Performances must take place
on the date noted in the schedule or assigned in class by the instructor. Due to a
tight schedule and limited class time, they may not be made up without prior
permission from the instructor.
Production Attendance
You are required to attend all School of Theatre & Dance theatre productions and
attend the “All-School Responses” on the following dates (the Monday after the
show closes).
Cyrano de Bergerac
A Christmas Carol
October 20 at 5:15 PM
December 8 at 5:30 PM
Attendance will be taken at the talkbacks and we will have an in class discussion if
time permits.
Tentative Schedule
Our work with each topic or dialect will run on a three to four day schedule depending
on the rate at which the class as a whole adapts to each dialect. A typical four-day
schedule will look like this:
Day One
Day Two
Day Three
Day Four
Signature Sounds and Additional Features
Dialect/Character Research and Coordination Exercises
Performance and Transcription Workshops
Final Performances and Transcriptions
The schedule will look something on this depending on the skills of the class as a whole.
Day four of a topic may coincide with day one of the following topic if time allows. We
may move fast or slower depending on the needs of the group.
Weeks 1-4
Topic 1: Prose and Career Speech
Weeks 5-10
Topic 2: Character Voices – Children’s Theatre, Voice-Over,
Impersonation
Weeks 11-15
Topic 3: Standard Stage Dialects – Standard British, Stage
Standard, Cockney
Final Exam
Monday, May 13, 10:10–12:10
Preparation for BFA Auditions
The skills learned in this course are necessary to pursue more advanced training in
Acting. From the School of Theatre & Dance Handbook, Page 24: “all acting and skills
courses during the third and fourth years of BFA training are considered
“advanced.” This level of training is student-driven and collaborative. The successful
completion of advanced courses requires that students synthesize and utilize the
fundamental skills acquired during prior training outside of class time. Independent
preparation and rehearsal is expected so that advanced concepts can be pursued in
the studio. Students who fail to demonstrate proper preparation for advanced work
or monopolize studio time addressing fundamental issues of skill will be graded
accordingly and may be asked to withdraw from the course. Instructors will address
the skills necessary for completing advanced work in the studio at the beginning of
each advanced course.”
Procedure/Policy
You are expected to abide by the following School regulations. There is no eating,
drinking, or gum chewing during the class. Please let me know if in writing if you
have a medical exception to this policy. Water in a capped container is acceptable.
Absolutely no weapons, real or fake, are allowed in the classroom.
There is inherent risk involved in many Theatre classes, as they are very physical in
nature. Please proceed through class and rehearsals with caution. Always be
mindful of your personal safety and the safety of others. Students participating in
classes, rehearsals, and performances do so at their own risk.
Due to safety considerations, at no point during a student’s time spent in class or
serving on a production (in any capacity) should non-enrolled persons be guests of
that student without my consent. Presence of such unauthorized persons in a class,
shop, or any backstage/off-stage area will negatively affect a student’s grade.
School of Theatre & Dance Handbook
All students in theatre courses must have an in-depth knowledge of the practices
and procedures outlined in the School of Theatre & Dance Handbook. The Handbook
is available online at the link above.
Disability Services for Students (DSS):
If you have a disability for which accommodations are needed please provide me, in
writing, your official DSS accommodation letter. Please visit the website linked
above for more information.
Student Conduct Code
All students must practice academic honesty. Academic misconduct is subject to an
academic penalty by the course instructor and/or disciplinary sanction by the
University. All students need to be familiar with the Student Conduct Code located at
the link above.