APPLIED VOICE
MU 103, 303 Syllabus - Tennessee Wesleyan College
Spring 2014
Time: TBA
OFFICE: Sherman M107
OFFICE HOURS: By Appointment
INSTRUCTOR: Dr. Nathan Windt
EMAIL: nwindt@twcnet.edu
OFFICE PHONE: 423.746.5234
COURSE DESCRIPTION: This course is applied voice with emphasis on learning
appropriate vocal techniques and literature for the particular voice type.
COURSE PREREQUISITE: Permission of the instructor.
COURSE GOALS AND OBJECTIVES: The student will develop knowledge of and
skills for singing in the “bel canto” style; develop practice habits and skills, as well as
performance skills and stage deportment; develop a repertoire suitable to the student’s
age and level of vocal ability, including songs from several different styles in English and
other foreign languages. Through the study of literature the student has the opportunity to
develop general musicianship, dramatic expression, and stylistic interpretation.
COLLEGE-WIDE LEARNING OUTCOMES (those appropriate to this course
marked with an asterisk):
1. Use effectively the skills of reading, writing and speaking.
2. Recognize the issues that affect social and political behavior in their historical and
cultural perspective.
3. Recognize and analyze contributions of the arts and literature.*
4. Demonstrate mathematical computation skills, and basic computer applications skills
and demonstrate an understanding of the scientific method.
5. Think critically and develop a basis for effective judgment.*
6. Access and evaluate information and its sources and use information effectively to
accomplish a purpose.*
RELATIONSHIP TO THE DEPARTMENT, MAJOR PROGRAM OR
INSTITUTIONAL PURPOSE(S): This course is required of all music majors and
music minors who have voice as an applied emphasis. Students outside of the major or
minor in music may be admitted after consultation with the instructor and at his
discretion. Applied Voice relates to the institutional purpose, which states “graduates are
expected to be able to appreciate the contributions of the arts and literature to life and
enrichment.”
COURSE RELATIONSHIP TO CONTENT AREA KNOWLEDGE AND SKILLS
FROM THE EDUCATION MATRICES:
 Performance
o Advanced level of proficiency as a solo performer; reasonable
performance proficiency in an additional instrument or voice. This will be
accomplished through periodic voice lessons (a one-half hour lesson per
2
week shall be the minimum) involving demonstrations by the instructor
and practice by the student of “bel canto” singing techniques. Students
may also be required to attend performances and listen to recordings.
Reading and discussions of related topics may also be included.
o Sufficient vocal skill to assure effective use of the voice in demonstrations.
This will be accomplished through periodic voice lessons (as above)
involving demonstrations by the instructor and practice by the student of
“bel canto” singing techniques.
REQUIRED READING/TEXTBOOKS:
Supplemental scores chosen to suit the needs of the student – these scores are available
through amazon.com and other music distribution companies.
SUPPLEMENTAL READING:
Adams, David. A Handbook of Diction for Singers: Italian, German, French. 2nd edition.
Oxford: Oxford University Press, 2008.
Clark, Mark Ross. Guide to the Aria Repertoire. Bloomington: Indiana University Press,
2007.
Coffin, Berton, Ralph Errolle, Werner Singer, and Pierre Delattre. Phonetic Readings of
Songs and Arias. 2nd edition. Lanham, Md.: Scarecrow Press, 1982.
Elliott, Martha. Singing in Style: A Guide to Vocal Performance Practices. New Haven:
Yale University Press, 2006.
Kimball, Carol. Song: A Guide to Art Song Style and Literature. Revised edition.
Milwaukee: Hal Leonard Corporation, 2005.
McGee, Timothy J., ed. Singing Early Music: The Pronunciation of European Languages
in the Late Middle Ages and Renaissance. With A. G. Rigg and David N.
Klausner. Bloomington: Indiana University Press, 2004.
McKinney, James C. The Diagnosis and Correction of Vocal Faults: A Manual for
Teachers of Singing and for Choir Directors. Long Grove, Il: Waveland Press,
2005.
Moriarty, John. Diction: Italian, Latin, French, German . . .the Sounds and 81 Exercises
for Singing Them. Boston: ECS Publishing, 1975.
TOPICS OR UNITS TO BE COVERED: Posture, breath control, resonance control,
“bel canto” singing style, range development, interpretation/expression, stage deportment,
vocal literature throughout history, diction (English and foreign languages).
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METHODS OF INSTRUCTION AND MODE OF LEARNING: Students
shall attend a minimum of a one-half hour lesson per week. They shall practice
vocal skills and techniques required for assigned repertoire for a minimum of one
hour per day per hour of credit received. They shall read assigned material, attend
required performances and demonstrate skill mastery through the performance of
assigned repertoire. Rehearsing only the evening before IS NOT sufficient
preparation for the lesson. Lessons shall include a review of skills and techniques
developed in the previous week’s practice, and study of new skills and techniques
required by the repertoire under study. A voice student must successfully
complete a proficiency examination before entering MU 303. He/she must
demonstrate skills adequate to the study of more advanced vocal literature. The
student should have skills adequate for music with a difficulty equal to Schubert
lieder, Handel arias, and Italian arias and art songs of the sixteenth and
seventeenth centuries. Evaluation of student’s activities will be made by the
instructor through observations of the student’s mastery of skills and techniques
required by the repertoire under study. The weekly lesson grade will be based on
the instructor’s evaluation of the student’s preparation of previously assigned
material. Mastery will be demonstrated during weekly lessons, juries and/or
recitals. All repertoire listed on the jury sheet shall be performed by memory.
The final course grade will be an average of weekly lesson grades and the jury
grade.
If you need to cancel or reschedule a lesson for any reason, including sickness,
please make every effort to give me 24 hours notice, preferably by telephone,
though email is sufficient. My time is as valuable as yours. No contact prior to
an absence will result in a grade of “F” for the lesson. The serious voice student
makes every effort to stay healthy. This includes proper rest. Do not take
medications with aspirin if you are singing.
JURIES/PROFICIENCIES: Juries are scheduled for Thursday, April 24 (Reading
Day). Individual times are TBA. Please keep this date in your calendar. This is the final
exam and is not optional.
LISTENING: Music majors should set aside time each week to listen to recordings of
professional singers of art song, oratorio, and/or opera/musical theatre. All vocal majors
are encouraged to attend vocal concerts (i.e., Knoxville Opera, etc.).
REPERTOIRE CLASSES are an opportunity to hear your peers perform standard
repertoire, as well as to offer comments and suggestions that are appropriate. This course
meets on Fridays from 12:00–1:00 p.m. All students taking applied lessons must
register for MU 290 (0 credit hours). Additionally, all students are required to perform
at least once in repertoire class. Failure to do so will lower the students’ grade a full level
(i.e., A to B). The following outlines the schedule for Spring 2014:
 Friday, January 24: combined studios
 Friday, February 7: Windt studio (vocal combined?)
 Friday, February 28: combined studios
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Friday, March 14: please hold for possible make-up rep class
Friday, March 28: combined studios
Friday, April 4: Windt studio (vocal combined?)
STUDENT RECITALS: There are no student recitals scheduled for Spring 2014.
COURSE SCHEDULE: Weekly meeting for one half-hour lesson per each hour of
credit. Time will be arranged between the student and instructor.
DISABILITY STATEMENT: Any student who feels she/he may need an
accommodation based on the impact of a documented disability should contact the
Academic Success Center to discuss specific needs. Please contact Dr. Patsy Ging,
Director of Learning Support Service for Students with Disabilities at x5237, or via email
at pging@twcnet.edu. It is the students’ responsibility to make initial contact with one of
the coordinators in the Academic Success Center. Coordinators: Dr. Patsy Ging
(pging@twcnet.edu), Dr. Patti Jones (pjones@twcnet.edu), or Mr. John Gaston at
jgaston@twcnet.edu
PREPARATION DATE: January 2014 by Nathan Windt
The Honor Code of Tennessee Wesleyan College: "I pledge, on my honor, to
conduct myself with the foremost level of academic integrity."
Each examination, quiz, or other paper, which is to be graded, will carry the
student's written pledge and signature: "I hereby certify that I have neither given
nor received unauthorized aid on this paper." The abbreviation "Pledged" followed
by the student's signature holds the same meaning and may be acceptable on papers
other than final examinations.
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RELEVANT QUALIFICATIONS
COURSES
TAUGHT
MU 103/303
Applied
Voice
EXPECTED
COURSE
OUTCOME
S
The Student
will:
1. Develop
knowledge of
and skills for
singing in the
“bel canto”
style
2. Develop
practice habits
and skills, as
well as
performance
skills and
stage
deportment
3. Develop a
repertoire
suitable to
the student’s
age and level
of vocal
ability,
including
songs from
several
different
styles in
English and
other foreign
languages
Coursework
in MM
Coursework
in DMA
Certificatio
ns
Voice lessons
with DMA
Vocal
Teaching
Assistant
Doctoral
Cognate area
in Voice;
studied with
Baritone Ken
Shaw
State of
Illinois K-12
music
education
licensure
Conductor of
CCM
Undergraduat
e Opera
Project
Two sections
of Song
Literature,
tracing the
progression
of the German
Lieder from
the 18th C. to
today
Conductor of
CCM
Undergraduat
e Opera
Project
Vocal coach
for
production of
Stravinsky’s
Les Noces, The
Fantasticks,
other staged
works.
Scholar
ly
Work
Work
Experience
Adjunct
Professor
of Voice,
Central
State
University;
maintained
vocal
studio
comprised
of applied
music
majors
(voice,
piano,
education)
Numerous
roles in
staged
operas,
both as
student
and
profession
al,
including
Figaro in
Le Nozze di
Figaro,
Sciarrone
in Tosca,
Prince
Yamadori
in Madama
Butterfly,
and Dr.
Falke in
Die
Fledermau
s
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Name of Academic Department/School: Fine Arts
Academic Term(s): 2013 - 2014
Date Form Completed: January 7, 2014
NAME
Nathan
Windt (F)
COURSES TAUGHT
MU 100 – Voice
MU 103/303 – Voice
MU 116 – Class Voice
MU 171 – Chorale
MU 191 – Concert Choir
MU 207 – Music
Appreciation
MU 290 – Repertoire Class
MU 324 – Beginning
Conducting
MU 325 – Advanced
Conducting/Choral
Techniques
Mu 371 – Chorale
MU 391 – Concert Choir
ACADEMIC
DEGREES EARNED
B.M.E., Vocal
Concentration; North
Park University (Music
Education)
M.M., Choral
Conducting
Performance;
University of
Cincinnati CollegeConservatory of Music
D.M.A., Choral
Conducting
Performance;
University of
Cincinnati CollegeConservatory of Music
OTHER
QUALIFICATIONS
Teaching experience at
the elementary, middle
school, and collegiate
levels.
10+ years of church music
experience as
chorister/music director
Professional experience as
chorister with major vocal
performance ensembles,
including Chicago
Symphony Chorus
Active vocal soloist in
opera and oratorio works