MUS 3351
Advanced Conducting and Literature
Materials
1.
2.
3.
4.
5.
6.
Text: Rehearsing the Band by John E. Williamson
The selection of five compositions to conduct in class
Use of the Band Resource Library and MRL to augment your knowledge of the
literature base through listening and score study
GMEA band/ literature list
Video/Audio Tapes
Conducting Baton
Course Description:
Advanced elements of conducting including baton technique, score reading, cueing,
expression, interpretation and rehearsal skills with an emphasis on applying these
techniques through choral literature in practical conducting experiences involving choral
ensembles. Required laboratory compo
Course Objectives
Department and University Policies
Conducting MUSI 3351 builds on the basic skills acquired in Introductory Conducting,
MUSI 3332. This course will address basic and advanced principles, techniques, and
methods of conducting and interpretation. Applications will occur in a laboratory
experience where rehearsing, interpretive and conducting techniques, and methods for
instrumental ensembles will be applied and assessed. Concurrent attention will be given
to Instrumental Literature appropriate for all grade levels.
The objectives of this course are for the student to be able to:
1.
Acquire a satisfactory level of skill in conducting through several practical
conducting experiences with a live ensemble and the evaluations of those
conducting experiences.
2.
Gain a working knowledge of the graded literature for school bands and the
development of a card (computer data base) file of works performed for future
reference.
3.
Begin to establish a growing awareness of problem solving and error
detection both through score study and rehearsal listening skills.
4.
Continue your development of standard conducting techniques through practice
and observations.
5.
Begin or build knowledge of rehearsal techniques.
6.
Further knowledge of basic filing procedures, score order, etc..
7.
Begin establishing methods of score study.
8.
Use of both the right and left hands effectively in the development of good
manual conducting technique.
9.
Demonstration of a mastery of the basic conducting styles of legato,
staccato, and marcato.
10.
The successful demonstration of the following conducting skills: preparatory
beats, variety of articulation, gesture of syncopation, retard and accelerando, handling of
fermatas, and compound meter beat patterns.
Materials
1.
2.
3.
7.
8.
Text: Rehearsing the Band by John E. Williamson
The selection of five compositions to conduct in class
Use of the Band Resource Library and MRL to augment your knowledge of the
literature base through listening and score study
GMEA band literature list
Video/Audio Tapes
9.
Conducting Baton
Basis for Grades
1.
2.
3.
4.
Attendance, including punctuality and participation (your participation in band is
essential for each person’s conducting experience).
Amount of improvement in problem areas.
Individual level of preparation for each conducting experience.
Individual performances on the podium.
Comments, Audio and Video Tapes
The instructors will make comments as you conduct on the video tapes you provide. You
will provide and make a recording of every conducting experience on cassette tape for
your perusal and study. Should you need any extra help, make an appointment during
office hours to come in for comments and/or help. Whenever you are unsure of how
something should be handled - a transition, a rallentando, a fermata, an anacrusis, a
caesura - come in ahead of your conducting experience rather than take your lumps after
the fact. You may ask either the Professor or the Graduate Assistant working with the
conducting class for assistance.
Attendance will be carefully checked. Unexcused absences and lack of punctuality will
result in grades being lowered. Your conducting times are your responsibility. There is
no guarantee that a missed conducting experience can be made up. Therefore it is
imperative that you are always prepared to conduct when it comes your turn. The order
of conducting experiences may be determined in the following manner: Volunteers,
alphabetical order, from the median name in alphabetical order down one in the sequence
from the median, then up one name in sequence, then down etc., and reverse alphabetical
order.
Potential Problem Areas
1.
2.
3.
4.
5.
6.
7.
Fundamental hand positions.
Baton acts as an extension of the arm (correct baton angle).
Eye contact (starts, cues, changes, fermatas, non-verbal communication, etc.).
Elimination of excess body motion. (i.e., constant foot tapping, knee
bending, etc.).
Proper use of the left hand (extra emphasis), (constant mirroring unacceptable).
Proper podium demeanor and stance (remember which side faces the
audience).
Take command! You are in charge of the music-making when on a podium. You
must not be shy.
Basic Techniques (not limited to-)
1.
2.
3.
4.
5.
6.
Preparatory beat occurs on the nearest whole beat prior to the start of the sound.
THE “PREP” MUST COMMUNICATE TEMPO, DYNAMICS AND STYLE.
You can “prep” with or without the left hand.
Basic patterns: 2,3,4,5,6
Extra emphasis for accents, cues, dynamics, phrases, nuance, etc.
left hand
facial expressions
body language
Basic conducting styles:
Staccato, legato, marcato
Fermatas, caesuras, etc.
Phrasing analysis
Types of Scores
1.
2.
3.
Full scores
Condensed (compressed, 4,5,6,7 line etc.)
Piano Conductor
Instrumental Music Literature Component
DESCRIPTION
This component addresses materials and literature with which every school instrumental music
teacher should be familiar. Instrumental ensemble music from grade I (beginning instruction)
through grade VI (professional level) will be studied. Evaluation and research into the
compositional backgrounds of selected works in the various mediums are strong concerns of this
course.
SUGGESTED TEXTS / READING and LISTENING ASSIGNMENTS
The Twentieth Century American Wind Band/Ensemble
Frank Battisti
Meredith Music Publications
The Winds of Change
Frank Battisti
Meredith Music Publications
Best Music for Band Beginning, Young, High School Band Dvorak, Floyd, et al
Manhattan Beach Music
Teaching Music Through Performance in Band
Miles, Blocher, et al
GIA Publications
Teaching Music Through Performance in Orchestra
Allen, Gillespie, et al
GIA Publications
Teaching Techniques and Insights
Joseph L. Casey (et al)
(For Instrumental Music Educators)
Rehearsing the Band
John E. Williamson
Neidig Services – Shattinger Music
The Wind Band and Its Repertoire
Edited by Michael Votta, Jr.
Two Decades of Research as Published in the College Band Directors National
Association Journal - Warner Bros Publications as part of the Donald Hunsberger Wind
Library series.
COMPONENT EVALUATION
Course grades will be computed according to the following:
Notebook:
This will contain all works reviewed categorized accordingly:
Band methods / supplements
Orchestra methods / supplements
GMEA LGPE preparations
Review / analysis summaries
Summaries of other works discussed in class sessions
Class notes, reading notes, handouts
Class presentation of GMEA LGPE Music Selections (per guidelines)
Class participation (attendance, discussion, readings, examinations, etc.)
Review / analysis of a selected book, work, or works
ACADEMIC INTEGRITY STATEMENT
GENERAL MUSIC UNIT OUTCOMES AND PROFICIENCIES
Outcome 1: Subject Matter Experts
1.1. Candidate demonstrates broad, in-depth, and current knowledge of discipline content.
1.2: Candidate represents content accurately.
1.3: Candidate connects content to other disciplines and applies it to common life experiences.
1.4: Candidate uses pedagogical content knowledge effectively.
Knowledge:
1.
Articulate the legal and ethical requirements of their role in the music education of
students with disabilities.
2.
Demonstrate an understanding of the musical and assessment activities and in the
behavior management of all students.
3.
Demonstrate an understanding of how each general characteristic of exceptionality
is linked to definitions under state and federal laws and the attendant regulations.
4.
Demonstrate an understanding of due process and their role in its implementation for
parents and students.
5.
Demonstrate an understanding of the role technology can play in instructional
accommodation for students with cognitive, sensory, or physical limitation or
disabilities.
6.
Demonstrate an understanding of their role in engaging and supporting the
participation of parents of students with disabilities in the music education of their
children
7.
Demonstrate an understanding of disabilities as lifelong circumstances requiring
different strategies and accommodations in various settings and stages.
8.
Understand and articulate the characteristics of human growth, development,
learning and motivation as it relates to students with disabilities
9.
Understand the influences of the arts, society, culture, community and family on
schools and learning.
10. Possess in depth content understanding that allows use of multiple explanations to
help learners understand and perform the discipline content and skills.
2.1 Candidate demonstrates knowledge of how learners develop, learn and think.
2.2: Candidate successfully motivates students to learn.
2.3: Candidate creates and implements instruction that embodies multiple cultures and a rich, diverse curricul
2.4: Candidate creates effective, well-managed and active learning environments.
2.5: Candidate creates environments that reflect high expectations for student achievement.
2.6: Candidate designs effective instruction.
2.7: Candidate implements effective instruction that positively impacts the learning of all students.
2.8: Candidate uses a variety of methods, materials, and technologies.
2.9: Candidate utilizes a variety of strategies to assess student learning and performance.
2.10: Candidate uses the results of assessments to improve the quality of instruction.
Skill:
11. Collect and share observational information, which will be useful to members of
interdisciplinary teams for multiple decision-making.
12. Demonstrate the ability to master, synthesize, and evaluate the professional
literature related to the education of learners with disabilities.
13. Demonstrate the ability to identify community and professional resources and
collect information about their access.
14. Use effective communication skills.
Outcome 3: Collaborative Professionals
3.1: Candidate communicates effectively orally and in writing.
3.2: Candidate reflects upon and improves professional performance.
3.3: Candidate builds collaborative and respectful relationships with colleagues, supervisors, students, parent
members.
3.4: Candidate displays professional and ethical behavior.
Dispositions:
15. Work collaboratively with other professionals to facilitate pre-referral, screening and
assessment, placement, transitions, and instructional design.
16. Assess, reflect upon and improve professional performance.
17. Work collaboratively with colleagues, supervisors, students, parents and community
members.
18. Show regard for human dignity in all relationships.
19. Assume responsibility for professional and ethical behavior.
20. Hold high learning expectations for all students.