ROSE BRUFORD COLLEGE OF THEATRE & PERFORMANCE Module Specification * ECT (European Credit Transfer and Accumulation System): There are 2 UK credits for every 1 ECT credit, in accordance with the Credit Framework (QAA). Therefore if a module is worth 20 UK credits, this will equate to 10 ECT. ** Notional hours of learning: The number of hours which it is expected that a learner (at a particular level) will spend, on average, to achieve the specified learning outcomes at that level. It is expected that there will be 10 hours of notional study associated with every 1 credit achieved. Therefore if a module is worth 20 credits, this will equate to 200 notional study hours, in accordance with the Credit Framework (QAA). 1. GENERAL INFORMATION Title Mastering the Basics of Music Module code MS402 Credit rating 20 Level 4 Indicative Contact hours n/a Pre-requisite modules none Co-requisite modules none School responsible School of Performance Member of staff responsible Dr F Jane Schopf ECT* 10 Notional hours of Learning** 200 2. AIMS The module aims to: -develop your understanding of musical notation and enable you to read and follow musical scores -develop your understanding of basic concepts such as keys, tonality, tonic and dominant function and to apply them in the study of music scores -acquaint you with the rationale behind traditional western harmonic thought -enable you to distinguish between major and minor modes 3. BRIEF DESCRIPTION OF THE MODULE The module explores the “nuts and bolts” of musical notation, developing both aural and visual skills. Note names, clefs, scales, keys, rhythm, time signatures, tonic-dominant relationship, chords, cadences, modulations, layout are all discussed and explored in relation to chamber, orchestral, instrumental music and opera. 4. INTENDED LEARNING OUTCOMES Category of outcome You will be able to: Knowledge and understanding -explain basic musical concepts such as keys and tonality -apply such concepts in the study of vocal, piano and orchestral scores -read simple lines of musical text
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ROSE BRUFORD COLLEGE OF THEATRE & PERFORMANCE Module Specification
* ECT (European Credit Transfer and Accumulation System): There are 2 UK credits for every 1 ECT credit, in accordance with the Credit Framework (QAA). Therefore if a module is worth 20 UK credits, this will equate to 10 ECT.
** Notional hours of learning: The number of hours which it is expected that a learner (at a particular level) will spend, on average, to achieve the specified learning outcomes at that level. It is expected that there will be 10 hours of notional study associated with every 1 credit achieved. Therefore if a module is worth 20 credits, this will equate to 200 notional study hours, in accordance with the Credit Framework (QAA).
1. GENERAL INFORMATION
Title Mastering the Basics of Music
Module code MS402
Credit rating 20
Level 4
Indicative Contact hours n/a
Pre-requisite modules none
Co-requisite modules none
School responsible School of Performance
Member of staff responsible Dr F Jane Schopf
ECT* 10
Notional hours of Learning** 200
2. AIMS
The module aims to: -develop your understanding of musical notation and enable you to read and follow musical scores -develop your understanding of basic concepts such as keys, tonality, tonic and dominant function and to apply them in the study of music scores -acquaint you with the rationale behind traditional western harmonic thought -enable you to distinguish between major and minor modes
3. BRIEF DESCRIPTION OF THE MODULE
The module explores the “nuts and bolts” of musical notation, developing both aural and visual skills. Note names, clefs, scales, keys, rhythm, time signatures, tonic-dominant relationship, chords, cadences, modulations, layout are all discussed and explored in relation to chamber, orchestral, instrumental music and opera.
4. INTENDED LEARNING OUTCOMES
Category of outcome You will be able to:
Knowledge and understanding
-explain basic musical concepts such as keys and tonality -apply such concepts in the study of vocal, piano and orchestral scores -read simple lines of musical text
ROSE BRUFORD COLLEGE OF THEATRE & PERFORMANCE Module Specification
2
Intellectual skills -identify and practise primary study skills and scholarly research methods -identify specific models of theory and analysis appropriate for the study of music, and begin to apply these in critical assessments
Practical skills -utilise specialist skills in music analysis -utilise specialist skills in score reading
Transferable skills and personal qualities
-maintain scholarly modes of presentation and approaches to referencing and compiling a bibliography -present a structured argument in written assignments -undertake a range of formal assessments to a range of specified briefings (assignments) -engage in critical self-assessment -read and follow musical notation -respond to the precise terms of a designated assignment -develop and apply skills of analysis in research, critical writing performance and music
5. LEARNING AND TEACHING PROCESSES (INCLUDING THE USE OF E-LEARNING)
You will receive the written module material via our E-learning platform. The material has staged exercises and tasks throughout, most being interactive. All exercises have full explanatory responses. There are listening files within the material to aid understanding.
6. ASSESSMENT (INCLUDING THE USE OF E-LEARNING)
Assessment task Length Weighting within module (if relevant)
A multiple choice question A series of short answers
2000 words equivalent 3000 words +/- 10%
40% 60%
7. FURTHER INFORMATION
Semester 1 or 2
Available on which programme(s)?
Music Studies
Available as Free Choice (UG) or to other programmes (PG)?
No
ROSE BRUFORD COLLEGE OF THEATRE & PERFORMANCE Module Specification
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Content Weeks 1 and 2 Melody Staves, clefs, note names, tones and semitones, C major & A natural minor scales, intervals. Pitch. Weeks 3 and 4 Scales and Keys Scales based on different notes (G, F, E, D), sharps, flats and naturals, key signatures. Weeks 5 and 6 Rhythm Note heads and durations, bar lines and simple time signatures, strong and weak beats. Compound time signatures and anacruses. Weeks 7 and 8 Triads Triads, arpeggios. Weeks 9 and 10 Cadences The importance of the dominant- tonic relationship, cadences. Weeks 11 and 12 Chords Chords and their layout, sevenths Weeks 13 and 14 Modulation Modulation to near and related keys. Weeks 15 and 16 Chromatic notes
Further wider modulations and chromatic colouring.
Teaching Method You will receive distributed written material via our E-learning platform. The material has staged exercises and tasks throughout, many being interactive. All exercises have fully explanatory responses. You will also receive written Tutor feedback on submitted work and during online tutorials and online support.
VLE Wide use of online resources, interactive exercises with responses
Chat rooms and online tutorials
Feedback
Given with the interactive exercises; via chat rooms and emails and fully annotated written comments on submitted work.
ROSE BRUFORD COLLEGE OF THEATRE & PERFORMANCE Module Specification
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Indicative Reading Andreas, Eric. How to Read Music: Beginner Fundamentals of
Music and How to Read Musical Notation CreateSpace Independent
Publishing Platform, 2015
Boosey & Hawkes Read Music From Scratch (A complete guide to
reading music for beginners with CD) London, nd.
Franceschina, John. Music Theory Through Musical Theatre:
Putting it Together OUP, 2015
Jones, G. T. Music Theory London: Harper Collins, 1974
Kardontchik, Jaime. Modulation in Classical Music for Young
Musicians Create Space, 2017 [Don’t be put off by the title – this
book explains chords and modulations with examples from keyboard
music, you can test yourself using the examples].
Nickol, Peter. Learning to Read Music Oxford: How to Books, 2008
Richer, Margaret. Understanding Music Theory Oxford: Hodder
Education, 2010
Shanet, Howard. Lean to Read Music Prentice Hall, 1971
Small, Christopher. “The Perfect Cadence and the Concert Hall”,
Chapter 1 of Music - Society - Education. John Calder, London,
1980
Schmeling, Paul. Berklee Music Theory Book 1 Boston: Berklee
Press, 2005
Straus, Joseph N. Elements of Music, 2nd ed. Upper Saddle River,
NJ: Prentice Hall, 2008
Taylor, Eric. The AB Guide to Music Theory London: Associated
Board, 1989
Zeitlin, Poldi. Understanding Music Theory London: Omnibus
Press, 2001
Proposed start date September 2018
Information updated on 8.2.18
Date of current version (for RBC use)
26.4.18
ROSE BRUFORD COLLEGE OF THEATRE & PERFORMANCE Module Specification
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8. GENERAL INFORMATION
Title Mastering the Basics of Analysis Part 1
Module code MS403
Credit rating 10
Level 4
Indicative Contact hours n/a
Pre-requisite modules MS402
Co-requisite modules none
School responsible School of Performance
Member of staff responsible Dr F Jane Schopf
ECT* 5
Notional hours of Learning** 100
9. AIMS
The module aims to: -enable you to analyse various structural forms and genres in terms of their musical features -enable you to relate the musical score to the dramatic moment -enhance your understanding of the structures and compositional tools composers use -develop your analytical skills with regard to basic musical structures
10. BRIEF DESCRIPTION OF THE MODULE
The module will focus on structures such as binary and ternary form, recitative, da capo aria, ritornello and explore their structures and functions. The question of musical unity within a work will be discussed. Orchestral score layout will be studied together with the families of instruments.
11. INTENDED LEARNING OUTCOMES
Category of outcome You will be able to:
Knowledge and understanding
-explain basic musical concepts such as keys and tonality and apply them in the study of vocal and orchestral scores -analyse forms in terms of their dramatic features relate specific musical sections to the dramatic moment
Intellectual skills -identify and practise primary study skills and scholarly research methods -identify specific models of theory and analysis appropriate for the study of music, and begin to apply these in critical assessments
Practical skills -utilise specialist skills in music analysis
ROSE BRUFORD COLLEGE OF THEATRE & PERFORMANCE Module Specification
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-utilise specialist skills in score reading
Transferable skills and personal qualities
-maintain scholarly modes of presentation and approaches to referencing and compiling a bibliography -present a structured argument in written assignments -formulate a comprehensive response to a designated assignment
12. LEARNING AND TEACHING PROCESSES (INCLUDING THE USE OF E-LEARNING)
You will receive the written module material via our E-learning platform. The material has staged exercises and tasks throughout, most being interactive. All exercises have full explanatory responses. You have access to the Naxos Music and Film libraries, JSTOR and IMSLP through the College.
13. ASSESSMENT (INCLUDING THE USE OF E-LEARNING)
Assessment task Length Weighting within module (if relevant)
Analysis of a short aria and recitative or instrumental form (Formative assessment will be given on a draft submission)
Equivalent to 2500 words +/- 10%
100%
14. FURTHER INFORMATION
Semester 1 or 2
Available on which programme(s)?
Music Studies
Available as Free Choice (UG) or to other programmes (PG)?
No
ROSE BRUFORD COLLEGE OF THEATRE & PERFORMANCE Module Specification
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Content Weeks 1 and 2 Forms - I Exploration of structures such as binary and ternary form, recitative, arioso, aria shapes, ensembles, ground basses, overture/prelude relating musical shapes and features to dramatic intentions. Weeks 3 and 4 Forms - 2 Musical unity and ways to achieve it; e.g., long term tonal planning, reminiscence motifs, leitmotives. Weeks 5 and 6 The Orchestra The orchestra. Score layouts, what to look for and where to look in an orchestral score. Transposing instruments. The function of the orchestra in opera. The orchestra as protagonist or as commentary. Weeks 7 and 8 Analysis
Analytical techniques such as harmonic analysis will be discussed and examples of how to integrate this within a written response will be given.
Teaching Method You will receive distributed written material via our E-learning platform. The material has staged exercises and tasks throughout, many being interactive. All exercises have fully explanatory responses. You will also receive written Tutor feedback on submitted work, online tutorials and support.
VLE Wide use of online resources, interactive exercises with responses
Chat rooms and online tutorials
Feedback
Given with the interactive exercises; via chat rooms and emails and fully annotated written comments on submitted work.
Indicative Reading Abbate, Carolyn and Parker, Roger (eds.). “Introduction: On Analyzing Opera” in Analyzing Opera, Verdi and Wagner. Berkeley: University of California Press, 1989 Benjamin, Thomas E. Music for Analysis OUP, 2002 Berry, Wallace. Structural Functions in Music Dover, 1987 Cutter, B. Harmonic Analysis Cornell University, 2014 Harper-Scott, J. P. An Introduction to Music Studies CUP, 2009 Harrison, Daniel. Pieces of Tradition: the Analysis of Contemporary Tonal Music OUP, 2016 Lehmann, Friedrich Harmonic Analysis (reprint) Forgotten Books, 2012 Morris, C. Reading Opera between the lines Cambridge: CUP, 2002 Noske, Frits. The Signifier and the Signified. Oxford, Clarendon Press, 1990 Piston, Walter Principles of Harmonic Analysis New York: Schirmer, 1983 Scher, S. P. Music and Text: critical enquiries Cambridge: CUP, 1992
Stein, Leo. Structure & Style: The Study and Analysis of Musical Forms, Suzuki, 1979
Swain, J. P. Harmonic Rhythm Oxford: OUP, 2002
Proposed start date September 2018
Information updated on February 8, 2018
Date of current version (for RBC use)
26.4.18
ROSE BRUFORD COLLEGE OF THEATRE & PERFORMANCE Module Specification
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15. GENERAL INFORMATION
Title Mastering the Basics of Analysis Part 2
Module code MS404
Credit rating 10
Level 4
Indicative Contact hours n/a
Pre-requisite modules MS402, MS403
Co-requisite modules none
School responsible School of Performance
Member of staff responsible Dr F Jane Schopf
ECT* 5
Notional hours of Learning** 100
16. AIMS
The module aims to: -further your ability to analyse forms and structures, -expand your vocabulary of analytical methods, -give you tools to use these methods and techniques in your writing
17. BRIEF DESCRIPTION OF THE MODULE
This module builds on MS403 by looking at sonata principle and its use, including within opera. It also offers a basic introduction to voice leading. The breakdown of tonality as seen in Wagner’s Tristan und Isolde and its meaning for western music will be discussed.
18. INTENDED LEARNING OUTCOMES
Category of outcome You will be able to:
Knowledge and understanding
-explain basic musical concepts such as keys and tonality and apply them in the study of vocal and orchestral scores -relate musical structures to the dramatic text
Intellectual skills -identify and practise primary study skills and scholarly research methods -identify specific models of theory and analysis appropriate for the study of music, and begin to apply these in critical assessments
Practical skills -utilise specialist skills in music analysis -utilise specialist skills in score reading
Transferable skills and personal qualities
-maintain scholarly modes of presentation and approaches to referencing and compiling a bibliography -present a structured argument in written assignments -read and follow musical notation -respond to the precise terms of a designated assignment
ROSE BRUFORD COLLEGE OF THEATRE & PERFORMANCE Module Specification
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-develop and apply skills of analysis in research, critical writing performance and music -formulate a comprehensive response to a designated assignment
19. LEARNING AND TEACHING PROCESSES (INCLUDING THE USE OF E-LEARNING)
You will receive the written module material via our E-learning platform. The material has staged exercises and tasks throughout, most being interactive. All exercises have full explanatory responses. You have access to the Naxos Music and Film libraries, JSTOR and IMSLP through the College.
20. ASSESSMENT (INCLUDING THE USE OF E-LEARNING)
Assessment task Length Weighting within module (if relevant)
Assignment 1: Formative Assessment 2: Summative
1000 words 1500
40% 60%
21. FURTHER INFORMATION
Semester 1 or 2
Available on which programme(s)?
Music Studies
Available as Free Choice (UG) or to other programmes (PG)?
No
Content Weeks 1 and 2
Sonata principal - its features and tonal structure.
Weeks 3 and 4
Sonata principle in Mozart’s operas
Weeks 5 and 6
A basic introduction to Schenkerian analysis
Weeks 7 and 8
The innovation of Tristan and its meaning for Western music
ROSE BRUFORD COLLEGE OF THEATRE & PERFORMANCE Module Specification
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Teaching Method You will receive distributed written material via our E-learning platform. The material has staged exercises and tasks throughout, many being interactive. All exercises have fully explanatory responses. You will also receive written Tutor feedback on submitted work, online tutorials and support.
VLE Wide use of online resources, interactive exercises with responses
Chat rooms and online tutorials.
You have access to the Naxos Music and Film libraries, JSTOR and IMSLP through the College.
Feedback
Given with the interactive exercises; via chat rooms and emails and fully annotated written comments on submitted work.
Indicative Reading
Aldwell, E. and Schater, C. Harmony and Voice Leading New York: Schirmer, 2011 Benjamin, T. E., Michael E. Horvit, M. E. and Robert Nelson, R. Music for Analysis: Examples from the Common Practice Period and the Twentieth Century Oxford: OUP, 2001 Cadwallader, A. Gagné, D. Analysis of tonal music: a Schenkerian approach Oxford: OUP, 1998 Cook, Nicholas. A Guide to Music Analysis OUP, 1992(Especially the Introduction and Chapter Two.) Forte, A. and Gilbert, S. Introduction to Schenkerian Analysis. New York: W. W. Norton, 1982 Pankhurst, Tom. Schenker Guide: A brief handbook and website for Schenkerian analysis London: Routledge, 2008 Schenker, H. Five Graphic Music Analyses Dover, 1970 Schnarrenberg , Robert. Schenker’s Interpretive Practice CUP, 2005 Stein, Leo. Structure & Style: The Study and Analysis of Musical Forms Suzuki, 1979 Tobin, J. R. Mozart and the Sonata Form London: Da Capo Press, 1978
ROSE BRUFORD COLLEGE OF THEATRE & PERFORMANCE Module Specification
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22. GENERAL INFORMATION
Title Historical Context
Module code MS405
Credit rating 20
Level 4
Indicative Contact hours n/a
Pre-requisite modules none
Co-requisite modules none
School responsible School of Performance
Member of staff responsible Dr F Jane Schopf
ECT* 10
Notional hours of Learning** 200
23. AIMS
The module aims to: -enable you to identify the relationships between music, drama, staging and theatre space, social structure and cultural context. -enable you to engage with some of the basic aims, accomplishments and problems of abstract music and opera -develop your abilities to situate and analyse music in historical and cultural contexts -develop your abilities to analyse musical form
24. BRIEF DESCRIPTION OF THE MODULE
The module seeks to place the study of music in historical and cultural contexts. The historical scope of the module is from late renaissance to the present day, including crucial innovators such as Monteverdi, Gluck, Beethoven, Wagner, Schoenberg and the Post Moderns.
25. INTENDED LEARNING OUTCOMES
Category of outcome You will be able to:
Knowledge and understanding
-begin to situate musical genres within their historical, social and political contexts -place composers, librettists and practitioners in historical and relative contexts -evaluate judgements of taste and value in a range of critical domains -evaluate and discuss significant developments in music -acquire an informed awareness of the working contexts and organisation of historical and contemporary opera production
Intellectual skills -identify and practise primary study skills and scholarly research
ROSE BRUFORD COLLEGE OF THEATRE & PERFORMANCE Module Specification
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methods -identify and apply analytical approaches appropriate for systematic historical and contextual inquiry
Practical skills -undertake detailed comparative analyses -utilise specialist skills in music analysis -utilise specialist skills in score reading -recognise various musical genres
Transferable skills and personal qualities
-maintain scholarly modes of presentation and approaches to referencing and compiling a bibliography -present a structured argument in written assignments -respond to the precise terms of a designated assignment -locate and discuss primary material within historical and theoretical frameworks -formulate a comprehensive response to a designated assignment
26. LEARNING AND TEACHING PROCESSES (INCLUDING THE USE OF E-LEARNING)
You will receive the written module material via our E-learning platform. The material has staged exercises and tasks throughout, many being interactive. All exercises have full explanatory responses. You have access to the Naxos Music and Film libraries, JSTOR and IMSLP through the College.
27. ASSESSMENT (INCLUDING THE USE OF E-LEARNING)
Assessment task Length Weighting within module (if relevant)
Formative, multi-part Summative (essay based)
2000 (+/- 10%) 3000 (+/- 10%)
40% 60%
28. FURTHER INFORMATION
Semester 1 or 2
Available on which programme(s)?
Music Studies
Available as Free Choice (UG) or to other programmes (PG)?
No
ROSE BRUFORD COLLEGE OF THEATRE & PERFORMANCE Module Specification
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Content Weeks 1 and 2
Towards a definition of opera. Librettist-composer collaboration (including Gilbert - Sullivan, Brecht – Weill). The role of the singer and the setting of the melodic line.
Weeks 3 and 4
Greek plays, mystery plays, madrigals, intermedi; the Florentine camerata; La nuove musiche.
Weeks 5 and 6
Italian music in London and the English revolt. Metastasio, Calzabigi, Algarotti and Gluck’s reforms.
Weeks 7 and 8
The musical scene in eighteenth-century Vienna. 1756-91. Haydn 1732-1809 symphony, string quartet, Beethoven 1770-1827 Schubert 1797-1828 Mozart text, music and drama.
Weeks 9 and 10
Rossini and the William Tell overture, Bellini, Donizetti, Meyerbeer and Grand Opera
Weeks 11 and 12
Beethoven, Weber’s use of the orchestra Marschner, introducing Wagner and Verdi Macbeth
Weeks 13 and 14
Verdi Rigoletto use of orchestra Wagner Die Walküre leitmotives
Weeks 15 and 16
Modern and Post Modern musical trends, jazz fusion etc., both in and out of the theatre. Composers include Schoenberg, Krenek, Adams, Berio, Cage, Cornelius Cardew, Henze, Glass, Nyman, Kagel, Saxton, Birtwistle, Neuwirth.
Teaching Method Distributed written material with graded exercises and tasks, many interactive, and all with responses.
Specified texts
Written Tutor feedback on submitted work, online tutorials and support
VLE Wide use of online resources, interactive exercises with responses
Chat rooms and online tutorials
You have access to the Naxos Music and Film libraries, JSTOR and IMSLP through the College.
Feedback
Given via chat rooms and emails and fully annotated written comments on submitted work
ROSE BRUFORD COLLEGE OF THEATRE & PERFORMANCE Module Specification
14
Indicative Reading Abbate, Carolyn, Parker, Roger. A History of Opera: The Last Four Hundred Years Penguin, 2015 Arblaster, Anthony. Viva la Libertà London: Verso, 2000 Bailey, Kate. Opera: Passion, Power and Politics V&A, 2017
Barbier, P. Opera in Paris, 1800-1850 Amadeus, 1995
Barbier, P.The World of the Castrati Souvenir Press, 2010
Cohen, Mitchell. The Politics of Opera: A History from Monteverdi to Mozart Princeton University Press, 2017
Cooke, Mervyn. Twentieth-century Opera Cambridge: CUP, 2005
Dahlhaus, C. Nineteenth-century Music University of California Press, 1989
Giroud, Vincent. French opera: A Short History Yale University, 2010
Greenwald, Helen. The Oxford Handbook of Opera OUP, 2014
Grout, Donald. A short History of opera Columbia University Press, 2003
Henson, Karen. Opera Acts: Singers and Performers CUP, 2015
Lindenberger, H. Situating Opera Period, Genre, Reception CUP, 2010
Millington, B. Wagner Dent, 1992
Parker, Roger. The Oxford Illustrated History of Opera OUP. 1994.
Petrobelli, P. Music in the theatre Princeton, 1994
Pistone, D. Nineteenth-century Italian Opera Amadeus, 1995
Plantigna, L. Romantic Music Norton, 1984
Plaut, E. A. Grand Opera Chicago: Dee, 1993
Radice, M. A. Opera in Context Amadeus, 1998
Rosselli, J. Music and Musicians in 19th century Italy Batsford, 1991
Sternfeld, F. W. The birth of opera OUP, 1993
Treadwell, J. Interpreting Wagner Yale, 2003
Weiss, Piero Opera, a History in Documents Oxford: OUP, 2002
Wintle, Christopher. What Opera Means Plumbago, 2018
ROSE BRUFORD COLLEGE OF THEATRE & PERFORMANCE Module Specification
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Proposed start date September 2018
Information updated on February 2018
Date of current version (for RBC use)
March 2018
ROSE BRUFORD COLLEGE OF THEATRE & PERFORMANCE Module Specification
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29. GENERAL INFORMATION
Title The Singer
Module code MS407
Credit rating 20
Level 4
Indicative Contact hours n/a
Pre-requisite modules none
Co-requisite modules none
School responsible School of Performance
Member of staff responsible Dr F Jane Schopf
ECT* 10
Notional hours of Learning** 200
30. AIMS
The module aims to: -further your understanding of the role of the singer in relation to the composition and production of opera and Lieder. -enable you to consider the technical aspects of vocal production within an historical perspective -increase your knowledge of singers and the possibilities of vocal and dramatic interpretation within the context of the history of operatic production -develop your abilities to analyse the singer’s position within society over the period of the last four hundred years, with reference to social, cultural and political events
31. BRIEF DESCRIPTION OF THE MODULE
The module offers a socio-historical overview of the role of the singer, before moving on to consider topics such as vocal classification and its effect on operatic composition; basic vocal physiology and its relation to changing notions of vocal technique; the ways in which singers are trained and marketed and the way in which expectations of singers’ performance have evolved. The module concludes with some case studies of particularly influential singers.
ROSE BRUFORD COLLEGE OF THEATRE & PERFORMANCE Module Specification
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32. INTENDED LEARNING OUTCOMES
Category of outcome You will be able to:
Knowledge and understanding
-begin to situate vocal Fachs within their historical, social and political contexts -understand the basics of voice physiology and techniques -evaluate judgements of taste and value in a range of critical domains -explain and discuss significant developments in vocal styles -gain a detailed knowledge of the main artistic movements, traditions and ideologies that influence and inform opera in all periods -identify historical perspectives of vocal production
Intellectual skills -identify and practise primary study skills and scholarly research methods -identify and apply analytical approaches appropriate for systematic and in-depth historical and contextual inquiry -analyse the singer’s position within society
Practical skills -undertake detailed comparative analyses of operas and approaches to opera practice -utilise specialised skills in comparative opera analysis -understand vocal production
Transferable skills and personal qualities
-maintain scholarly modes of presentation and approaches to referencing and compiling a bibliography -present a structured argument in written assignments -undertake a range of formal assessments to a range of specified briefings (assignments) -respond to the precise terms of a designated assignment -identify the theoretical assumptions informing your own work and the writings/practices of others -formulate a comprehensive response to a designated assignment
33. LEARNING AND TEACHING PROCESSES (INCLUDING THE USE OF E-LEARNING)
You will receive the distributed written module material via our E-learning platform. The material has staged exercises and tasks throughout, many being interactive. All exercises have fully explanatory responses.
34. ASSESSMENT (INCLUDING THE USE OF E-LEARNING)
Assessment task Length Weighting within module (if relevant)
Formative, multi-part Summative (essay based)
2000 (+/- 10%) 3000 (+/- 10%)
40% 60%
35. FURTHER INFORMATION
ROSE BRUFORD COLLEGE OF THEATRE & PERFORMANCE Module Specification
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Semester 1 or 2
Available on which programme(s)?
Opera Studies, Music Studies
Available as Free Choice (UG) or to other programmes (PG)?
No
Content Weeks 1 and 2 The Voice
How the voice is made. Society’s perception of the singer – historical context.
Weeks 3 and 4 1600-1760
Opera designed for singers; the castrato as operatic superstar; definitions of bel canto; patronage and the singer as servant.
Weeks 5 and 6 Reform and Revolution: 1760-1820
The shift of power from singer to composer, and from patron to public spectator; the demise of the castrati; the development of opera singing as a profession and the beginnings of a new and lucrative operatic marketplace
Weeks 7 and 8 Bel Canto and the Rise of the Prima Donna: 1820-1860
The supremacy of the coloratura soprano on the operatic stage; the operatic travelling troupe at home and abroad; new approaches to the tenor voice; the final flourish of “singer’s opera”. Weeks 9 and 10 “Con Belto” and the Emergence of the Helden Tenor: 1860-1900
Science and singing - changing ideas of technique and the development of the “big voice”. The expansion of opera singing as a profession, the establishment of music conservatoires, and the influx of middle-class novice singers
Weeks 11 and 12 New Singers for New Opera in a New Age: 1900-1930
The influence of naturalism and other avant-garde theatrical practices on operatic performance conventions; the vocal and physical demands of the new opera on the singer; the emergence of the director. Weeks 13 and 14 Building the Future, Reviving the Past: 1930-1968
The effects of technological advances (especially the jet-plane and the gramophone) on the singer’s career; the paucity of new operatic repertoire; the revival of bel canto techniques and operas. Weeks 15 and 16 The Voices of Here and Now: 1968-2012
New audiences, mass markets and crossing cultural divisions; the rise of designer/director’s opera and its use of the singer; opera on, and as, film.
Teaching Method Distributed written material with graded exercises and tasks, many interactive, and all with responses.
Specified texts
Written Tutor feedback on submitted work, online tutorials and support
VLE Wide use of online resources, interactive exercises with responses
Chat rooms and online tutorials
Feedback
Given via chat rooms and emails and fully annotated written comments on submitted work
ROSE BRUFORD COLLEGE OF THEATRE & PERFORMANCE Module Specification
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Indicative Reading Bentley, Eric, ed. The Theory of the Modern Stage Penguin Books, [1968] 1992.
Budden, Julian. “Verdi and the World of the Primo Ottocento.” The Operas of
Verdi. Vol.I. Clarendon Press, 1992.
Budden, Julian. “The Collapse of Tradition (Italian Opera 1840-70).” The Operas
Of Verdi, Vol.II. Clarendon, 1992
Carpenter, Audrey. Giovanna Sestini: An Italian Opera Singer in Eighteenth-
century London Matador, 2017
Carreras, José. Singing From the Soul: An Autobiography London: Souvenir
Press, [1991] 1994.
Cowgill, Rachel. The arts of the prima donna in the long nineteenth century OUP,
2012
Dunn, L.C. and Jones, N. A. (eds) Embodies voices Cambridge: CUP, 1994
Edwards, G. & Edwards, R. The Verdi Baritone Indiana University Press, 1994.
Grunberger, Richard. A Social History of the Third Reich Phoenix Press, 2005
Fitzlyon, April. Maria Malibran: Diva of the Romantic Age Souvenir Press, 1987
Roach, Joseph. A Player’s Passion: Studies in the Science of Acting London &
Toronto: Associated University Presses, 1985
Hahn, Reynaldo. On Singers and Singing trans. Leopold Simoneau. Oregon:
Amadeus Press, 1990.
Henson, Karen. Opera Acts: Singers and performance CUP, 2015
Hines, Jerome. Great Singers on Great Singing New York: Limelight Editions,
1990.
Holmes, William C. Opera Observed: Views of a Florentine Impresario Chicago,
1993
Hyde, Derek. New-Found Voices: Women in Nineteenth Century English Music
Aldershot: Ashgate, 1998
Kerman, Joseph. Opera as Drama London: Faber & Faber, 1989.
Lehmann, Lilli. How to Sing New York: Dover Publications, 1993.
Macy, Laura. The Grove Book of Opera Singers OUP, 2008
Matheopoulos, Helen. Diva: Great Sopranos and Mezzos Discuss Their Art
Boston, MA: Northeastern University Press, 1992
McGinnis, Pearl. The opera singer’s career guide: understanding the European
Fach system Scarecrow Press, 2010
Platoff, John. “The buffa aria in Mozart’s Vienna.” Cambridge Opera Journal
Vol. 2, no 2 (July 1990).
Pleasants, Henry. The Great Singers Hemel Hempstead: Prentice Hall, 1981.
Poriss, Hilary. Changing the Score Oxford: OUP, 2009
Rosselli, John. Singers of Italian Opera: The History of a Profession CUP, 1995
Rutherford, Susan. The Prima Donna and Opera 1815-1930 CUP, 2009
- Verdi, Opera, Women CUP, 2013
Scott, Michael. The Record of Singing, Vols.I & II. Duckworth & Co., 1993.
Steane, J. B. Voices: Singers and critics Amadeus Press, 1992
Steane, J. B. Singers of the Century, Volume 3, Duckworth, 2000
Woodfield, Ian. Performing Operas for Mozart: Impresarios, Singers and Troupes
CUP, 2011
ROSE BRUFORD COLLEGE OF THEATRE & PERFORMANCE Module Specification
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Proposed start date September 2018
Information updated on
Date of current version (for RBC use)
11.4.2018
ROSE BRUFORD COLLEGE OF THEATRE & PERFORMANCE Module Specification
21
36. GENERAL INFORMATION
Title The Orchestra and Conductor
Module code MS408
Credit rating 10
Level 5
Indicative Contact hours n/a
Pre-requisite modules none
Co-requisite modules none
School responsible School of Performance
Member of staff responsible Dr F Jane Schopf
ECT* 5
Notional hours of Learning** 100
37. AIMS
The module aims to: -trace the historical development of the orchestra, from the beginnings in opera to the present day -develop your ability to read and follow an orchestral score, and to understand transposing instrumentals -enhance your ability to understand and express the way in which the orchestra contributes towards the experience of musical genres -examine the role of the conductor, drawing on case studies of some influential conductors
38. BRIEF DESCRIPTION OF THE MODULE
This module traces the development of the orchestra from the origins in opera to modern times. Successive weeks focus on the seventeenth, eighteenth, nineteenth and twentieth centuries. Historical analysis is accompanied by practical examples: you are given structured exercises to develop your ability to read an orchestral score. The module considers the way in which the score is structured and notated, and addresses the question of transposing instruments as well as considering how the various instruments are used by composers. The role of the conductor and its historical development is considered together with the function of the conductor in the modern opera company. Basic patterns for conducting are also explored.
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39. INTENDED LEARNING OUTCOMES
Category of outcome You will be able to:
Knowledge and understanding
-understand the layout of an orchestral score -explain the organisation and history of the orchestra -evaluate the role of the conductor
Intellectual skills -identify and practise primary study skills and scholarly research methods -apply specific models of analysis appropriate for the study of orchestral music
Practical skills -utilise specialist skills in music analysis -utilise specialist skills in score reading
Transferable skills and personal qualities
-maintain scholarly modes of presentation and approaches to referencing and compiling a bibliography -present a structured argument in written assignments -read and follow musical notation -respond to the precise terms of a designated assignment -locate and discuss primary material within historical and theoretical frameworks
40. LEARNING AND TEACHING PROCESSES (INCLUDING THE USE OF E-LEARNING)
You will receive the written module material via our E-learning platform. The material has staged exercises and tasks throughout, many being interactive. All exercises have full explanatory responses.
41. ASSESSMENT (INCLUDING THE USE OF E-LEARNING)
Assessment task Length Weighting within module (if relevant)
Summative (essay based) (Formative assessment will be given on a draft submission)
2500 (+/- 10%) 100%
42. FURTHER INFORMATION
Semester 1 or 2
Available on which programme(s)?
Music Studies
ROSE BRUFORD COLLEGE OF THEATRE & PERFORMANCE Module Specification
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Available as Free Choice (UG) or to other programmes (PG)?
No
Content Weeks 1 and 2
The instruments of the orchestra and the skill of score reading. In these weeks we look at the various families of instruments, transposing instruments and the historical layout of the orchestra. Score reading is taught in gently graduated stages leading you through three instrumental works: Bach Brandenburg Concerto No. 4, Beethoven Symphony No. 5 and Bruckner Symphony No. 4
Weeks 3 and 4
The history of the orchestra to the nineteenth century. We consider the historical development of the orchestra from the Renaissance to the nineteenth century. Three nineteenth-century treatises on orchestration are considered before assessing the emerging role of the conductor. Rudiments of conducting are given together with a historical overview of the changing role of the conductor.
Weeks 5 and 6
The orchestra in the nineteenth century and twentieth centuries. Sample scores of composers such as Beethoven, Wagner, Bruckner, Debussy, Webern, Messiaen and Penderecki are considered from the perspective of orchestration.
Weeks 7 and 8
The role of the conductor is explored studying manuals written by famous conductors such as Berlioz, Wagner, Wood, Scherchen and Boulez.
Teaching Method Distributed written material with graded exercises and tasks, many interactive, and all with responses.
Specified texts
Written Tutor feedback on submitted work, online tutorials and support
VLE Wide use of online resources, interactive exercises with responses
Chat rooms and online tutorials
Feedback
Given via chat rooms and emails and fully annotated written comments on submitted work
ROSE BRUFORD COLLEGE OF THEATRE & PERFORMANCE Module Specification
24
Indicative Reading Bellman, J. (Ed.). The Exotic in Western Music Northeastern University Press, 1998
Bowen, José Antonio. The Cambridge Companion to Conducting CUP, 2003
Brown, D. Musorgsky: His Life and Works Oxford: OUP, 2002
Brown, Peter. The Symphonic Repertoire, Volume IV: The Second Golden Age of the Viennese Symphony: Brahms, Bruckner, Dvorák, Mahler, and Selected Contemporaries Indiana, 2003
Buelow, G. J. (Ed.). The Late Baroque London:Macmillan, 1991
Burkholder, J. P. All Made of Tunes: Charles Ives and the uses of musical borrowing Yale, 1995
Burholder, J. P. Charles Ives and the ideas behind the Music Yale, 1985
Butt, J. Ed. The Cambridge Companion to Bach CUP, 1997
Chesterman, Robert. Conductors in Conversation Robson Books, 1990
Del Mar, Norman. Conducting Beethoven OUP, 1992
Gasparov, B. Five Operas and a Symphony Yale University Press, 2005
Gerhard, A. The Urbanization of Opera Trans. Mary Whittall, University of Chicago, 1998
Glass, P. Opera on the Beach London: Faber & Faber, 1987
Henze, H. W. Bohemian Fifths: An Autobiography Trans. Stewart Spencer, Faber, 1998
Henze, H. W. Music and Politics Trans. Peter Labanyi Faber & Faber, 1982
Holoman, D. Kern. The Orchestra: A Very Short Introduction OUP, 2012
Hopkins, A. The nine symphonies of Beethoven Heinemann, 1981
Johnson, R. S. Messiaen University of California Press, 1975
Krikler, Anne. Conductors, Batons and Orchestras Grosvenor House, 2012
Lara, Navarro. The Miracle of Conducting the Orchestra without using the Hands: Neuro Conducting CreateSpace, 2016
- The 10 Apocryphal Commandments Of the Orchestral Conductor of the 21
Century: Orchestra ConductingCreateSpace, 2016
Marisson, M. The Social and Religious Designs of J. S. Bach’s Brandenburg Concertos Princeton University Press, 1995
McElheran, Brock. Conducting Technique OUP, 2005
Mercer-Taylor, P. The Cambridge Companion to Mendelssohn CUP, 2004
Miller, Michael. The Complete Idiot’s Guide to Conducting Music Alfred Publishing, 2012
Morris, C. Reading Opera between the Lines Cambridge: CUP, 2002
Morrison, S. Russian Opera and the Symbolist Movement University of California, 2002
Newlin, D. Bruckner, Mahler, Schoenberg Marion Boyars, 1978
Parikian, Lev. Waving not Drowning Create Space Independent Publishing Platform, 2013
Perry, R. S. Charles Ives and the American Mind Kent State University Press, 1974
Peyser, J. Music in Europe since the Rite of Spring Billboard Books, 1999
Pike, L. Beethoven, Sibelius and the ‘Profound Logic’, University of London, 1978
Price, C. Ed. The Early Baroque Macmillan, 1991
Prout, Ebenezer. The orchestra: techniques and combinations Dover, 2004
Richardson, J. Singing Archaeology, Philip Glass’s Akhnaten Wesleyan University, 1999
Rorem, N. A Ned Rorem Reader Yale University Press, 2001
Samson, J. Music in Transition OUP, 1993
Schuller, Gunther. The Compleat Conductor OUP 1998
Service, Tom. Music as Alchemy: Journeys with Great Conductors Faber & Faber, 2014
Spitzer, John & Zaslaw, Neal. The Birth of the Orchestra: History of an Institution, 1650-1815 OUP, 2005
Sullivan, J. New World Symphonies Yale University Press, 1999
Till, N. Mozart and the Enlightenment Faber & Faber, 1992
Toorn, P. C. van den. Music, Politics, and the Academy University of California Press, 1995
Watkins, John The Art of the Conductor Universe, 2007
Walker, A. Franz Liszt: The Weimar Years Faber & Faber, 1989
Watson, D. Bruckner Schirmer Books, 1996
Widor, Charles Marie. The Technique of the Modern Orchestra; a Manual of Practical Instrumentation HardPress Publishing, 2012
Wooldridge, David. Conductor’s World London: Barrie and Rockliff, 1970
Zaslaw, Neal. Mozart Symphonies Macmillan, 2008
ROSE BRUFORD COLLEGE OF THEATRE & PERFORMANCE Module Specification
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Proposed start date September 2018
Information updated on January 11, 2018
Date of current version (for RBC use)
March 2018
ROSE BRUFORD COLLEGE OF THEATRE & PERFORMANCE Module Specification
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43. GENERAL INFORMATION
Title Monteverdi
Module code MS409
Credit rating 10
Level 4
Indicative Contact hours n/a
Pre-requisite modules none
Co-requisite modules none
School responsible School of Performance
Member of staff responsible Dr F Jane Schopf
ECT* 5
Notional hours of Learning** 100
44. AIMS
The module aims to: -enable you to make a detailed analysis of the innovative synthesis of music, dramatic action and design -bring about a deepened awareness of the conditions in which opera originated and began to develop, -contextualise early and significant developments in form and composition -engage you with detailed study of the social and cultural contexts and performance conditions of early opera -understand the beginnings of the orchestra
45. BRIEF DESCRIPTION OF THE MODULE
The module is centred on the achievement of Monteverdi as both a composer of non-operatic music, exponent of the ‘new style’, and as a musico-dramatist. The major concern, apart from the historical foundation laid during the period, is the question of the nature of the melodrama itself and the sometimes conflicting demands of music, words and staging. In addition to representative instrumental and vocal music (including “Second Practice”, monody and madrigal), the works studied will include Peri Euridice, Monteverdi, La Favola d’Orfeo and Il ritorno d’Ulisse in patria.
46. INTENDED LEARNING OUTCOMES
ROSE BRUFORD COLLEGE OF THEATRE & PERFORMANCE Module Specification
27
Category of outcome You will be able to:
Knowledge and understanding
-situate musical genres and operas within their historical, social and political contexts -place Monteverdi in his historical and relative contexts -evaluate judgements of taste and value in a range of critical domains -gain a detailed knowledge of the main artistic movements, traditions and ideologies that influence and informed the genesis of opera demonstrate an awareness of the working contexts and organisation of early opera production and the orchestra
Intellectual skills -identify and practise primary study skills and scholarly research methods -identify specific models of theory and analysis appropriate for the study of music, and begin to apply these in critical assessments -identify and apply analytical approaches appropriate for systematic historical and contextual inquiry
Practical skills -undertake detailed comparative music analyses -utilise specialised skills in comparative analysis -utilise specialist skills in score reading
Transferable skills and personal qualities
-maintain scholarly modes of presentation and approaches to referencing and compiling a bibliography -present a structured argument in written assignments -undertake a range of formal assessments to a range of specified briefings (assignments) -read and follow musical notation -respond to the precise terms of a designated assignment -develop and apply skills of analysis critical writing -locate and discuss primary material within historical and theoretical frameworks -identify the theoretical assumptions informing the writings/practices of others -start to undertake relevant research and make effective use of supporting primary and secondary evidence and source -formulate a comprehensive response to a designated assignment
47. LEARNING AND TEACHING PROCESSES (INCLUDING THE USE OF E-LEARNING)
You will receive the distributed written module material via our E-learning platform. The material has staged exercises and tasks throughout, many being interactive. All exercises have full explanatory responses.
48. ASSESSMENT (INCLUDING THE USE OF E-LEARNING)
Assessment task Length Weighting within module (if relevant)
Formative, draft
0%
ROSE BRUFORD COLLEGE OF THEATRE & PERFORMANCE Module Specification
28
Summative (essay based)
2500 +/- 10% 100%
49. FURTHER INFORMATION
Semester 1 or 2
Available on which programme(s)?
Music Studies
Available as Free Choice (UG) or to other programmes (PG)?
Yes
Content Week 1 Pastoral, intermedio, favola in musica
Immediate predecessors of vocal and instrumental music in late sixteenth-century theatre in Italy; Jacopo Peri’s Euridice (1600) and the workings of the Florentine recitative. Weeks 2 -4 Monteverdi’s Orfeo
The première of Orfeo; the structure and music
Weeks 5 Other musical theatre
Other theatrical genres in the early seventeenth-century Italian court; intermedio, Monteverdi’s Ballo delle ingrate (1608), Combattimento di Tancredi et Clorinda (1624). Weeks 6-8 Il ritorno d’Ulisse in patria Monteverdi in Venice; “public” opera; Il ritorno d’Ulisse as a “transitional” work; from epic to libretto.
Teaching Method Distributed written material with graded exercises and tasks, many interactive, and all with responses.
Specified texts
Written Tutor feedback on submitted work, online tutorials and support
VLE Wide use of online resources, interactive exercises with responses
Chat rooms and online tutorials
Feedback
Given via chat rooms and emails and fully annotated written comments on submitted work
ROSE BRUFORD COLLEGE OF THEATRE & PERFORMANCE Module Specification
29
Indicative Reading Arnold, D. and N. Fortune, ed. The New Monteverdi Companion. Norton, 2008
Bianconi, Lorenzo, and Thomas Walker. “Production, Consumption and Political Function of Seventeenth-Century Opera.” Early Music History Vol 4 (1984)
Calcagno, Mauro. From Madrigal to opera: Monteverdi’s staging of the self Univ. California Press, 2012
Carter, Tim. “Non occorre nominare tanti musici: Private Patronage and Public Ceremony in Late Sixteenth-Century Florence.” I Tatti Studies: Essays in the Renaissance 4 (1991)
Carter, Tim. “‘In Love’s Harmonious Consort’?: Penelope and the Interpretation of Il ritorno d’Ulisse in patria.” Cambridge Opera Journal Vol 5, No. 1 (March 1993)
- Monteverdi’s Musical Theatre Yale, 2002
Chafe, Eric. Monteverdi's Tonal Language Schirmer, 1992
Curtis, Alan. “La Poppea Impasticciata, or Who Wrote the Music to L’incoronazione (1643)?” Journal of the American Musicological Society Vol 42, No. 1 (Spring 1989)
Fabbri, P. & Carter, T. Monteverdi CUP, 1994
Fenlon, Ian. The Operas of Monteverdi ENO Guide, 2011
Gordon, Bonnie. Monteverdi’s unruly women CUP, 2009
McClary, Susan. Feminine Endings: Music, Gender, and Sexuality. Minnesota & London: University of Minnesota Press, 1991.
Palisca, Claude Studies in the History of Italian Music and Music Theory. Oxford: OUP, 1994
Redfern. Nick Claudio Monteverdi: Ohimè Kindle Books, 2014
Ringer, Mark. Opera’s First Master Amadeus Press, 2006
Rosand, Ellen. “Seneca and the Interpretation of L’incoronazione di Poppea.” Journal of the American Musicological Society Vol 38, No. 1 (Spring 1985)
- Monteverdi’s last operas: a Venetian trilogy Univ. California Press, 2007
Tomlinson, Gary.“Madrigal, Monody, and Monteverdi’s ‘via naturale alla immitatione’.” Journal of the American Musicological Society Vol 34, No. 1 (Spring 1981) Whenham, John, ed. Claudio Monteverdi: “Orfeo.” Cambridge Opera Handbooks. Cambridge: Cambridge University Press, 1986
-(Ed.) The Cambridge Companion to Monteverdi CUP, 2007
Proposed start date September 2018
Information updated on January 2018
ROSE BRUFORD COLLEGE OF THEATRE & PERFORMANCE Module Specification
30
Date of current version (for RBC use)
20.4.2018
ROSE BRUFORD COLLEGE OF THEATRE & PERFORMANCE Module Specification
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50. GENERAL INFORMATION
Title Verdi
Module code MS410
Credit rating 10
Level 4
Indicative Contact hours n/a
Pre-requisite modules none
Co-requisite modules none
School responsible School of Performance
Member of staff responsible Dr F Jane Schopf
ECT* 5
Notional hours of Learning** 100
51. AIMS
The module aims to: -analyse how Verdi’s operas function as musico-dramatic works -establish the core values or techniques used by Verdi -to outline some of the main features of Verdi’s stylistic development including how he assimilated influences -to stimulate you to think afresh about operas which may already be familiar by asking you to critically examine the techniques Verdi used.
52. BRIEF DESCRIPTION OF THE MODULE
The module presents the argument that there are core values or techniques present in all Verdi’s operas and that he assimilated influences without changing these. The scena is the basic unit of a Verdi opera and a study of how Verdi constructs scenes forms the basis of the whole module.
53. INTENDED LEARNING OUTCOMES
Category of outcome You will be able to:
Knowledge and understanding
-situate Verdi’s musical practice within its historical, social and political contexts -apply basic musical concepts such as keys and tonality in the study of vocal and orchestral scores -explain Verdi’s musical dramaturgy
Intellectual skills -be able to identify and practise primary study skills and scholarly research methods
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-identify specific models of theory appropriate for music and begin to apply them in critical assessments -engage with, apply and integrate complex theoretical analyses in relation to primary and secondary material
Practical skills -undertake detailed comparative analyses -utilise specialist skills in music analysis -begin to develop specialised skills in score reading
Transferable skills and personal qualities
-maintain scholarly modes of presentation and approaches to referencing and compiling a bibliography -present a structured argument in written assignments -undertake a range of formal assessments to a range of specified briefings (assignments) -read and follow musical notation -respond to the precise terms of a designated assignment -develop and apply skills of analysis in critical writing -locate and discuss primary material within historical and theoretical frameworks -identify the theoretical assumptions informing the writings/practices of others -start to demonstrate approaches to analytical inquiry which are -discursive, associative and flexible rather than precisely chronological or historical
54. LEARNING AND TEACHING PROCESSES (INCLUDING THE USE OF E-LEARNING)
You will receive distributed written text via our E-learning platform. The material has staged exercises and tasks throughout, many being interactive. All exercises have full explanatory responses.
55. ASSESSMENT (INCLUDING THE USE OF E-LEARNING)
Assessment task Length Weighting within module (if relevant)
Formative (draft) Summative
2500 (+/- 10%)
0% 100%
56. FURTHER INFORMATION
Semester 1 or 2
Available on which programme(s)?
Music Studies
ROSE BRUFORD COLLEGE OF THEATRE & PERFORMANCE Module Specification
33
Available as Free Choice (UG) or to other programmes (PG)?
Yes
Content Weeks 1 and 2 La Traviata
We will set Verdi in context and define the scena and Verdi’s core techniques through examining La Traviata Act II scene ii. Emphasis will be placed on Verdi’s use of rhythm to drive the action forward.
Weeks 3 and 4 Verdi’s treatment of father-child relationships through elements in the scena: arias, duets and trios
We will study how one of the most important themes in Verdi’s operas, the father-child relationship, is dramatised through elements in the scene, mainly the aria and duet, but also with some reference to ensembles in extracts from Oberto, I Due Foscari, I Masnadieri, Rigoletto, La Traviata.
Weeks 5 and 6 The ensemble
We will study an important element in the scena, the ensemble, by discussing the conventions involved and how ensembles work. We will discuss the balance between music drama and pure music and introduce Hanslick’s theory of how opera works. We will explore these points in relation to Nabucco, Ernani and Rigoletto.
Weeks 7 and 8 Verdi’s use of the orchestra
We will look at the way Verdi uses the orchestra focussing on Nabucco, Il Lombardi, Rigoletto and La Traviata.
ROSE BRUFORD COLLEGE OF THEATRE & PERFORMANCE Module Specification
34
Indicative Reading Abraham, Gerald, (ed.) The Age of Beethoven, 1790-1830 OUP, 1985 - Romanticism, 1830-1890. OUP, 1990. Albright, D. Berlioz, Verdi, Wagner, Britten: Great Shakespeareans, Bloomsbury, 2014 Allitt, John S. Donizetti In the Light of Romanticism and the Teaching of Johann Simon Mayr London: Element, 1991 Bagnoli, Giorgio. Verdi’s Operas Amadeus, 2014 Balthazar, Scott L. (ed.) The Cambridge Companion to Verdi CUP, 2004
Bensoussan, Albert. Verdi Gallimard, 2013
Bianconi, L. & Pestelli, G. (Eds.). Opera in Theory and Practice: Image and Myth University of Chicago, 2003
Boromé, Joseph A. “Bellini and Beatrice di Tenda.” Music and Letters 42, no.4 (October 1961).
Budden, Julian. The Operas of Verdi. 3 vols. OUP,1992.
- Verdi OUP, 2008
Chusid, Martin, (ed.) Verdi’s Middle Period (1849-1859): Source Studies, Analysis and Performance Practice. Chicago University Press, 1997
Conrad, P. Verdi and/or Wagner Thames and Hudson 2013
Edwards, G. and Edwards, R. The Verdi Baritone Indiana University Press, 1994
Rosselli, John. Music and Musicians in Nineteenth-Century Italy Batsford, 1991.
Rutherford, Susan. Verdi, Opera, Women CUP, 2013 pb 2017
Senici, Emanuele. The Cambridge Companion to Rossini CUP, 2004
Sharpe, Lesley. Friedrich Schiller. Drama, Thought and Politics. Cambridge: CUP, 1991
Smart, Mary Ann. Waiting for Verdi: Opera and Political Opinion in Nineteenth-Century Italy, 1815-1848 University of California Press, 2018
Steen, Michael. Verdi: the Great Composers Kindle, 2014
Stendhal.The Life of Rossini Trans. Coe. London: Calder, 1985
Van, Gilles de. Verdi’s Theater: Creating Drama through Music Chicago: Chicago University Press, 1998
Verdi & Boito. The Verdi-Boito Correspondence University of Chicago Press, 2015
Wills, Garry. Verdi's Shakespeare: Men of the Theater Penguin, USA, reprint 2013
Zicari, Massimo. Verdi in Victorian London Open Book, 2016
ROSE BRUFORD COLLEGE OF THEATRE & PERFORMANCE Module Specification
35
Proposed start date September 2018
Information updated on 17.1.2018
Date of current version (for RBC use)
March 2018
ROSE BRUFORD COLLEGE OF THEATRE & PERFORMANCE Module Specification
36
57. GENERAL INFORMATION
Title Wagner
Module code MS411
Credit rating 10
Level 4
Indicative Contact hours n/a
Pre-requisite modules none
Co-requisite modules none
School responsible School of Performance
Member of staff responsible Dr F Jane Schopf
ECT* 5
Notional hours of Learning** 100
58. AIMS
The module aims to: -give you an overview and understanding of Wagner’s development in relation to cultural and socio-political contexts -enable you to engage with Wagner’s theoretical writings and their implications for music drama -enable you to understand his innovations in opera production and the orchestra
59. BRIEF DESCRIPTION OF THE MODULE
This module discusses Wagner’s dramatic development by looking at operas from each of his artistic periods setting them in their contemporary and theatrical contexts. It also explores the various social, political and philosophical influences on Wagner’s creativity throughout his life and the innovations he made.
60. INTENDED LEARNING OUTCOMES
Category of outcome You will be able to:
Knowledge and understanding
-situate Wagner’s operas within their historical, social and political contexts -identify financial, political and operational contexts in which his operas were produced -evaluate and discuss Wagner’s developments in opera and the orchestra -explain the main artistic movements, traditions and ideologies that influenced and informed Wagner
ROSE BRUFORD COLLEGE OF THEATRE & PERFORMANCE Module Specification
37
Intellectual skills -identify and practise primary study skills and scholarly research methods -identify specific models of theory and analysis appropriate for the study of opera, and begin to apply these in critical assessments
Practical skills -undertake detailed comparative analyses -utilise specialist skills in music analysis -utilise specialist skills in score reading
Transferable skills and personal qualities
-maintain scholarly modes of presentation and approaches to referencing and compiling a bibliography -present a structured argument in written assignments -undertake a range of formal assessments to a range of specified briefings (assignments) -read and follow musical notation -respond to the precise terms of a designated assignment -develop and apply skills of analysis in critical writing -identify the theoretical assumptions informing the writings/practices of others -make effective use of supporting primary and secondary evidence and sources -begin to demonstrate approaches to analytical inquiry which are discursive, associative and flexible rather than precisely chronological or historical
61. LEARNING AND TEACHING PROCESSES (INCLUDING THE USE OF E-LEARNING)
You will receive the distributed written module material via our E-learning platform. The material has staged exercises and tasks throughout, many being interactive. All exercises have full explanatory responses.
62. ASSESSMENT (INCLUDING THE USE OF E-LEARNING)
Assessment task Length Weighting within module (if relevant)
Formative, draft Summative (essay based)
2500 (+/- 10%)
0% 100%
63. FURTHER INFORMATION
Semester 1 or 2
Available on which programme(s)?
Music Studies
ROSE BRUFORD COLLEGE OF THEATRE & PERFORMANCE Module Specification
38
Available as Free Choice (UG) or to other programmes (PG)?
Yes
Content Weeks 1 and 2 Wagner’s life and career
An exploration of Wagner’s creative life, the development of his ideas, and the composition and performance of his works in the context of his time.
Weeks 3 and 4 The Early Operas and Dresden Years
Die Feen, Das Liebesverbot, Rienzi, Der fliegende Holländer, Tannhäuser and Lohengrin.
Weeks 5 and 6 Theories into Practice
The years of transition and exile; Wagner’s theory of opera and the beginning of Der Ring des Nibelungen, with emphasis upon Das Rheingold
Weeks 7 and 8 Parsifal
A discussion of Parsifal in its context as Wagner’s last work and the appropriation of Christian symbolism.
ROSE BRUFORD COLLEGE OF THEATRE & PERFORMANCE Module Specification
39
Indicative Reading Badiou, A. Five lessons on Wagner trans. Slavoj Zizek London: Verso, 2010
Borchmeyer, Dieter. Richard Wagner Theory and Theatre Trans. Spencer. OUP,
1991
- Drama and the World of Richard Wagner Princeton, 2002
Carnegy, Patrick. Wagner and the Art of the Theatre Yale: University Press, 2006
Cooke, Deryck. I saw the world end: a study of Wagner’s Ring. OUP, 1979
Conrad, P. Verdi and/or Wagner: two men, two worlds, two centuries Thames and
Hudson, 2011
Deathridge, J. Wagner beyond Good and Evil Univ. California Press, 2008
Donington, Robert. Wagner’s Ring and its Symbols Faber, 1963
Emslie, Barry. Richard Wagner and the Centrality of Love Boydell, 2010
Foster, Daniel. Wagner’s Ring cycle and the Greeks CUP, 2010
Grimm, R. & Hermand, J. Re-Reading Wagner University of Wisconsin Press,
1993
Geck, Martin. Richard Wagner, a life in music University of Chicago Press, 2013
Grey, Thomas. Richard Wagner and His World Princeton. 2009
Kinderman, W. & Syer, K.R. A Companion to Wagner’s Parsifal Camden House,
2005.
Kirby, F. E. Wagner’s Themes Michigan: Harmonie Park Press, 2004
Köhler, Joachim. Richard Wagner – the Last of the Titans Trans. Spencer. Yale,
2004
Kramer, Lawrence. Opera and Modern Culture University of California Press,
2004
Johnson, Stephen. Wagner: his life and music Naxos, 2007
Magee, Bryan. Aspects of Wagner London: Ross, 1968
Millington, Barry. Wagner London: Dent, 1984
- The Sorcerer of Bayreuth Thames and Hudson, 2012
Nietzsche, Friedrich. Richard Wagner in Bayreuth Create Space, 2017
Rieger, Eva. Richard Wagner’s Women Boydell, 2011
Ringer, Alexander, (ed.). The Early Romantic Era Macmillan, 1990.
Sabor, Rudolph. Richard Wagner: Der Ring des Nibelungen Phaidon, 1997
Schopenhauer, Arthur. The World as Will and Representation Dover, 1969
Scruton,Roger. Death-Devoted Heart OUP, 2004
Shaw, Bernard. The Perfect Wagnerite Constable, 1929
Spotts, Frederick. Bayreuth: A History of the Wagner Festival Yale, 1996
Steen, Michael Wagner: the great composers Kindle, 2014
- Wagner’s The Ring – a short guide Kindle, 2015
Syer, Katherine. Wagner’s Visions University of Rochester Press, 2014
Tanner, Michael. The Faber Pocket Guide to Wagner Faber, 2010
Vazsonyi, Nicholas. Wagner’s ‘Meistersinger’ University of Rochester Press,
2002
- The Cambridge Wagner Encyclopedia CUP 2013
Williams, Bernard. On Opera Yale: University Press, 2006
Williams, Simon. Wagner and the Romantic Hero CUP, 2004
Proposed start date September 2018
Information updated on 17.4.2018
ROSE BRUFORD COLLEGE OF THEATRE & PERFORMANCE Module Specification
40
Date of current version (for RBC use)
March 2018
ROSE BRUFORD COLLEGE OF THEATRE & PERFORMANCE Module Specification
41
64. GENERAL INFORMATION
Title Mozart
Module code MS412
Credit rating 10
Level 4
Indicative Contact hours n/a
Pre-requisite modules none
Co-requisite modules none
School responsible School of Performance
Member of staff responsible Dr F Jane Schopf
ECT* 5
Notional hours of Learning** 100
65. AIMS
The module aims to: -enable you to undertake sustained dramatic and musical analysis of works of Mozart in their context -enable you to engage with the artistic implications for Mozart’s work in the major cultural transitions of the time.
66. BRIEF DESCRIPTION OF THE MODULE
This module examines Mozart in his cultural context, positioned between the Baroque and the Romantic: his place as culmination of the earlier style and pointer towards a new, more intensely felt kind of music. Works are chosen from Mozart’s early, middle and late periods, and the module also includes reference to works by other contemporary composers.
67. INTENDED LEARNING OUTCOMES
Category of outcome You will be able to:
Knowledge and understanding
-situate Mozart’s works within their historical, social and political contexts -identify financial, political and operational contexts in which his works were produced -explain the main artistic movements, traditions and ideologies that influenced him
Intellectual skills -identify and practise primary study skills and scholarly research methods -identify specific models of theory and analysis appropriate for the study of music, and begin to apply these in critical assessments
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-engage with, apply and integrate theoretical analyses in relation to primary and secondary material.
Practical skills -undertake detailed comparative analyses of different genres -utilise specialised skills in comparative music analysis -utilise specialist skills in score reading
Transferable skills and personal qualities
-maintain scholarly modes of presentation and approaches to referencing and compiling a bibliography -present a structured argument in written assignments -undertake a range of formal assessments to a range of specified briefings (assignments) -read and follow musical notation -respond to the precise terms of a designated assignment -develop and apply skills of analysis in critical -identify the theoretical assumptions informing the writings/practices of others -start to demonstrate approaches to analytical inquiry which are discursive, associative and flexible rather than precisely chronological or historical
68. LEARNING AND TEACHING PROCESSES (INCLUDING THE USE OF E-LEARNING)
You will receive the distributed written module material via our E-learning platform. The material has staged exercises and tasks throughout, many being interactive. All exercises have full explanatory responses.
69. ASSESSMENT (INCLUDING THE USE OF E-LEARNING)
Assessment task Length Weighting within module (if relevant)
Formative, draft Summative
2500 (+/- 10%)
0% 100%
70. FURTHER INFORMATION
Semester 1 or 2
Available on which programme(s)?
Music Studies
Available as Free Choice (UG) or to other programmes (PG)?
Yes
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Content Weeks 1 and 2 The Uses of Genre
These Weeks will enable you to recognise the conventions of the
different the operatic genres in which Mozart worked, looking in
turn at opera seria, opera buffa and German Singspiel. It will
consider the advantages and disadvantages of generic conventions to
a composer such as Mozart.
Weeks 3 and 4 Musical form and dramatic language
These Weeks will consider the way in which Mozart was able to
deploy developments in late eighteenth-century instrumental music,
in particular sonata form, to extend the dramatic language of opera.
Weeks 5 and 6 Representation and Meaning
These Weeks will consider the problem of representation and
meaning in music. How can the composer communicate feelings and
ideas in the abstract language of music? You will learn to recognise
the many ways in which Mozart encoded meanings in his operatic
music.
Weeks 7 and 8 The classic aftermath: Beethoven and Rossini
These Weeks will consider the impact of Mozart upon two
composers whose works have been described as spanning the
Classical and Romantic styles: Beethoven and Rossini. You will
learn to evaluate the different kinds of influence which Mozart
exerted over these two masters in Fidelio and Il barbiere di Siviglia.
Teaching Method Distributed written material with graded exercises and tasks, many interactive, and all with responses.
Specified texts
Written Tutor feedback on submitted work, online tutorials and support
VLE Wide use of online resources, interactive exercises with responses
Chat rooms and online tutorials
Feedback
Given via chat rooms and emails and fully annotated written comments on submitted work
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Indicative Reading Anderson, E. (ed.). The Letters of Mozart and his Family Revised by Stanley Sadie and Fiona Smart. Macmillan, 1997
Braunbehrens, V. Mozart in Vienna: 1781-1791 Munich and Zurich, 1986
Brophy, Brigid. Mozart the Dramatist London: Faber & Faber, 2005
Cairns, David. Mozart and His Operas University of California Press 2006/Penguin, 2007
Einstein, A. Mozart Oxford: OUP, 1965
Eisen, Cliff. Mozart, a life in letters Penguin, 2006
Eisen, C. & Keefe, S. The Cambridge Mozart Encyclopedia CUP 2007
Elias, N. Mozart, Portrait of a Genius University of California Press, 1993
Gjerdingen, Robert. Music in the Galant Style OUP, 2007
Glover, Jane. Mozart’s Women Pan, 2006
Holmes, Edward. Edward Holmes’ Life of Mozart Kindle, 2013
Jones, David Wyn. Music in Vienna 1700, 1800 Boydell, 2016
Johnson, Paul. Mozart – a life Penguin, 2014
Keefe, Simon. Mozart in Vienna: The Final Decade CUP, 2017
Kerman, J. Opera as Drama University of California, 2005
Nagel, Ivan. Autonomy & Mercy Trans. Marion Faber & Ivan Nagel. Harvard, 1991
Pestelli, G. The Age of Mozart and Beethoven CUP, 1984
Rice, John A. La clemenza di Tito CUP, 1991
Robbins Landon, H. C. (ed.). The Mozart Compendium London: Thames & Hudson, 1996
- Mozart’s Last Year 1791 Thames & Hudson, 1999
Rosen, Charles. The Classical Style Faber & Faber, 1971
Rushton, J. Mozart: an extraordinary life ABRSM, 2005
Sadie, S. (ed.) Wolfgang Amadè Mozart: Essays on his Life and Music Oxford: OUP, 1996
Solomon, M. Mozart: A Life Hutchinson, 1995
Spaethling, Robert. Mozart’s letters, Mozart’s Life Faber & Faber, 2004
Steen, Michael. Mozart: the great composers Kindle, 2014
Taruskin, Richard. Music in the Seventeenth and Eighteenth Centuries OUP, 2009
Till, Nicholas. Mozart and the Enlightenment: Truth, Virtue and Beauty in Mozart’s Operas Faber and Faber, 1992
Woodfield, Ian. Performing Operas for Mozart: Impresarios, Singers and Troupes CUP, 2011
Zaslaw, N.(ed.) The Classical Era Macmillan, 1989
ROSE BRUFORD COLLEGE OF THEATRE & PERFORMANCE Module Specification