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|Description - |
|Seminar-style course provides a forum for performing and presenting music and multimedia work, receiving constructive feedback, and encountering a broad diversity of styles in the work of others. All music performance practices are welcome, including electronic and visual media that integrate music. A wide range of musical styles will be explored including Folk, Reggae, Jazz, Blues, Electronic, and Classical. Students may use traditional acoustic, electric, and software based virtual instruments. In addition to standard repertoire, the course provides an opportunity for performance of original compositions. Students will gain music performing experience and also learn the technical side of sound reinforcements systems, concert promotion and stage management. The culmination of the student's work for the quarter will be participation in a live music concert.|
|Course Objectives - |
|The student will be able to: |
- compare and contrast the basic principles of a broad diversity of performance practices
- perform original compositions, and/or present multimedia productions, and/or original arrangements of other composers
- define and discuss the aesthetic qualities of various musical and multimedia techniques, styles, and ideas
- create unique practical solutions to performance problems that include other class participants
- develop verbal skills for constructive criticism and self-evaluation
- develop written skills appropriate for music criticism
- develop collaborative techniques for problem solving through group workshops
|Special Facilities and/or Equipment - |
- When taught on campus: classroom sound equipment for compact discs, audiotape and records, screen, overhead projector, slide projector, VCR and DVD, Tuned Piano, PA system.
- When taught via Foothill Global Access: on-going access to computer with Email software and capabilities; Email address; Java-script enabled internet browsing software.
|Course Content (Body of knowledge) - |
- Study and analysis of musical paradigms, performance practices, and techniques
- In-depth consideration of salient features delineating styles, as represented by class participants and their projects, and recordings
- Introduction to basic characteristics of acoustic, electro-acoustic, and families of the traditional orchestra, their transpositions, and their common usage.
- Consideration of special practices and techniques associated with particular instruments
- The application of performance practices in individual presentations and group collaborations
- Aesthetic choices for arranging and instrumentation
- The application of samples and synthesizers in a musical context.
- Multimedia presentations with and without live performers
- The development of critical thinking
- Compare and contrast class presentations with anticipated aesthetic choices regarding performance styles and practices i.e. the intuitive vs. the counter-intuitive.
- Develop verbal skills for self-evaluation and constructive criticism.
- Develop written skills for music criticism sympathetic to the musical paradigm of the performer.
|Methods of Evaluation - |
- Public performance at the end of course.
- Class participation and collaboration with group workshops.
- Self-evaluation and progress report to be submitted at assigned times by each student.
|Representative Text(s) - |
|Rink, John. Musical Performance: A Guide to Understanding. Cambridge University Press, 2010. |
|Disciplines - |
|Method of Instruction - |
- Lectures consist of Instructor demonstration, guest performers, and observing video performances of great performers.
- Lab consists of private instruction, supervised practice, and in class performance/critique.
|Lab Content - |
|Supervised in-class rehearsals and performances with instructor, as well as outside of class rehearsals and private instruction. Original compositions and arrangements will be performed. |
|Types and/or Examples of Required Reading, Writing and Outside of Class Assignments - |
|Depending upon the genre and style of music being performed, will include reading or writing arrangements in traditional music notation, reading or writing jazz- and pop-style lead sheets, or reading or writing other notational systems for communicating performance directions within an ensemble experience. |