Individual Instruction – Applied Voice
MUSA 1195 21580 - SPRING 2018
TABLE OF CONTENTS
Required Texts…………………………………………
Pg. 1
Course Description & Objectives………………
Pg. 1
Grading…………………………………………………….
Pg. 2
Attendance & Participation………………………
Pg. 2
Cell Phone Policy………………………………………
Pg. 2
Accommodations……………………………………..
Pg. 2
Course Activities………………………………………
Pg. 3-5
Recommended Texts………………………………..
Pg. 6
Listening Lists….……………………………………….
Pg. 7-14
Studio Schedule……………………………………….
Pg. 15
Recital Schedule……………………………………….
Pg. 16
Monday – Friday 8:30am-1:30pm - FFA 405
Individual Instruction - MUSA 1195 - CATES - Spring 2018 Page 16
of 16
REQUIRED TEXTS
· The Performer’s Voice Realizing Your Vocal Potential by
Meredith Bunch Dayme (2005)
· The Diagnosis & Correction of Vocal Faults by James C.
McKinney (2005)
· Song: A Guide to Linking Poetry and Literature by Carol
Kimball (2005)
DESCRIPTION & OBJECTIVES
This course is designed to enhance your ability to use your
singing voice in the healthiest manner possible, to advance your
communication and performance skills, and to advance your knowledge
of vocal literature. At the conclusion of the course, you will have
gained:
· Accuracy in all aspects of musicianship (reading, rhythms,
etc.)
· Use of proper breath support in singing. (appoggio for
classical and one of the three other breath techniques for musical
theatre deemed appropriate for the style).
· Ability to color the voice in response to the text, tradition,
style period, etc.
· Awareness of the rules of pronunciation for foreign language
test in French, German, Italian, and English and the ability to
institute those rules in the sung repertoire.
· An understanding of the meaning of the poetry and an awareness
regarding the composer and poetry.
· Appropriate awareness and integration of stylistic
concepts.
· Other aspects of quality singing tailored to the individual
needs of the student.
RESOURCES
Blythe Cates, DMA
Fine Arts 405
UTEP Email: bdcates
Mobile: 512-264-5144
Office Hrs: TBA
Blackboard
Schedule
Readings
Gradebook
Scores
Bunch Dayme
Textbook
Guide to healthy vocal production.
McKinney
Textbook
Vocal pedagogy manual.
Kimball Textbook
Characteristics of poetry and relationship between poetry and
musical settings
Listening List
PDF on Blackboard
Spotify Playlists
GRADING
Grading is extremely transparent, and I put considerable effort
into timeliness. Current grades are always available via the
Blackboard gradebook. Grade breakdown is as follows:
· The grade of “A” will not be considered for a lesson during
which errors corrected the previous week are repeated.
· A grade of “A” will not be considered for a lesson during
which a printed copy of poetry with word-by-word translation is not
presented (when requested) and word-by-word translation is written
into the music (when requested). IPA symbols may be requested in a
similar manner.
· Failure to keep a practice log will be considered in
grading.
· Dismissal from a lesson due to lack of preparation, lack of
practice log or lack of recording device will result in an “F”
being earned for that particular lesson. Please be aware that the
grade of “A” is difficult to achieve in the voice area and should
reflect the grading standards of the University of Texas at El
Paso.
· Repertoire must be memorized by the lesson time specified by
the instructor. All repertoire must be memorized by
the week of April 16, 2018. The grade of “A” will not be
considered for anyone not meeting this requirement, and a penalty
of as much as one letter grade for each song not memorized may be
assessed.
ATTENDANCE AND PARTICIPATION
You will earn full credit for attendance and participation if
you arrive on time and prepared for all classes. If you must miss a
class due to illness or travel, please contact me BEFORE the class
to request an excused absence.
Two unexcused absences will result in a failing grade. After
THREE total absences, excused or unexcused, you may be asked to
withdraw from the course.
CELL PHONE POLICY
Please feel free you use your cell phone in lessons to record
your lessons. Otherwise, please silence your cell phones and put
them away.
ACCOMMODATIONS
Your success in this class is important to me. If there are
aspects of this course that prevent you from learning or exclude
you, please let me know. Together we will develop strategies to
meet both your needs and the requirements of the course.
If you need official accommodations for any condition, including
mental health and medical conditions, you have a right to have that
need met. The earlier you ask for help, the better your chances of
thriving in this class and at UTEP. I encourage you to contact the
Center for Academic Success as early as possible to determine your
eligibility.
COURSE ACTIVITIES
REPERTOIRE REQUIREMENTS
· The first semester of study students will be expected to
prepare repertoire in accordance with their level of development
and in conjunction with the performance and study needs of their
diction courses. Generally speaking this will range from 3-5 pieces
of music.
· Following the first semester of study, the student is expected
to memorize a MINIMUM of five new songs each semester. Consult the
Voice Area Handbook for specific information about repertoire
expectations.
· It should be noted that the completion of only the minimum
requirement of five songs is not a strong indicator of initiative
for your educational or vocal growth. The completion of a song
every other week is a NORMAL expectation when practice guidelines
are followed. Failure to have material memorized as assigned will
reflect negatively on the grade earned by the student.
LESSON PRACTICE
As a voice or education major, you are to consider voice to be
the most significant portion of your educational process and are,
therefore, to place it as the top priority of your time plan.
· A minimum of one (1) hour of practice time daily, five (5)
days a week, is expected. This time may be spent in score study,
translation, vocalizations, study of the poetry of your songs,
etc., as set forth by the teacher. Time spent in rehearsals other
than voice lesson preparation should be considered over and above
lesson preparation, not as part of lesson preparation. Plan your
rehearsal time so your voice is fresh and your mind awake. Your
voice lesson preparation should NOT follow a major rehearsal of an
ensemble or another activity because your voice will be fatigued
and your best efforts unavailable to you.
LESSON PREPARATION
· Corrections made in one lesson and not incorporated by the
next lesson will be considered as indications of non-preparation
and lack of initiative. This will reflect negatively in the grade
earned for the lesson or the semester. This applies to all aspects
of your lesson preparation (rhythms, notes, pronunciations,
historical context, composer biography, etc.) including
word-by-word translations and IPA symbols, when requested.
· Normal preparation will mean that a song assigned one week
would be completed and memorized by the third lesson following the
assignment.
· An example follows:
Lesson on September 11: Assigned Schubert “Die Forelle”
Lesson on September 18:
1. Present to teacher a typed copy of the poetry containing
word-by-word translation below each poetic line.
1. Have word-by-word translation written in your score in
addition to your printed copy of the poetic text with word-by-word
translation.
3. Be able to “count sing” the song with accurate melodic
reading.
4. Other objectives as assigned by the teacher, which may
include
“vowel singing” the song. Rhythms and pitches should be
accurate.
Lesson on September 25:
1. Corrections of pronunciation should be incorporated into
the
song.
2. Corrections in rhythm or pitches should be incorporated into
the
song.
3. Student should be adequately prepared so that musical
concepts, tonal color, text, and phrasing ideas can be
discussed
and integrated into the music.
4. Song should have been prepared with accompanist and be
ready
For memorization.
Lesson on October 2:
1. Song should be memorized and ready for studio or combined
studio presentation.
NOTEBOOK
· A three-ring binder must be kept in which studio related
materials are placed.
· The contents should include: a) the written reviews of
recitals attended b) the written observations of required listening
assignments c) word-by-word translations of foreign language songs
copied into the scores d) copies of the prose reading of texts d)
information regarding the context of the lyricist or poet e)
information giving context to the scene if the song is from an
opera or musical f) other material as assigned by the
instructor.
· The notebook will be turned in to the instructor no later than
Friday, April 27, and the thoroughness, organization, and neatness
of the notebook will be considered in the grade of the student.
STUDIO CLASS, AREA RECITALS & RECITAL ATTENDANCE
· Studio classes are considered to be extensions of the lesson
experience and are not optional. Tardy arrival for classes or
recitals is considered a lack of initiative and may reflect
negatively in grading.
· The studio teacher must grant special considerations for
absence due to course conflict and will be done only under the most
unusual circumstances.
· When time allows studio class will include preparation and
performance of chamber literature for voice. The student is
expected to prepare his/her voice part prior to studio class to
facilitate accurate and musical rehearsal of such repertoire.
· Failure to attend all studio voice area recitals or
appropriate dress rehearsals of said recitals will be considered an
indication of lack of initiative and will reflect negatively on the
grade earned for the semester.
· Attendance at recitals, especially recitals of your colleagues
and teachers in the voice area are considered a vital part of your
education and should NOT be missed. You will receive a master
schedule early in the semester indicating the dates of voice area
activities. Plan accordingly to be in attendance.
CRITICAL LISTENING PROJECT
· Each student will choose 2 albums from the attached listening
list. Albums chosen should be from the student’s current
fach/registration. All recordings are available for free on my
Spotify station.
· Each student will listen to the album in its entirety and with
the score and poetry in front of them. If the album has multiple
CD’s you may chose the most interesting or relevant CD to your
current studies. After listening to both albums students must chose
a third album and repeat the process.
· At the conclusion of listening to 3 albums the student is
required to write a 2-page paper on the album of their choice
detailing the singer’s use of technique, diction, musical
interpretation, and poetic interpretation.
· Papers will be due no later than Friday, April 27, 2018.
ENSEMBLES
· Ensemble participation is a significant part of the vocal and
professional growth of each voice student.
· First year voice students are not allowed to perform in more
than two ensembles each semester unless given special permission by
their voice instructor.
· Special considerations will be resolved through discussions
with the Director of Choral Activities, the studio teacher, the
Voice Area Head, and, when necessary, the Director of the School of
Music.
· Studio teacher special requests for participation limits or
voice placement should be submitted to the Director of Choral
Activities prior to the auditions.
FIRST SEMESTER GUIDANCE CONFERENCE & JURIES
· 1st study semester students will be expected to demonstrate
their vocal progress to the voice faculty by performing at least
two memorized selections for the voice faculty at a specified time
near the end of the first semester or during the voice jury period.
This performance will be in conjunction with a conference with me
that will assist the student in grasping the measure of their vocal
progress.
· The student must perform a voice jury at the conclusion of
each succeeding semester of study, with the exception of the
recital semester. The jury must be completed before a grade will be
entered for the semester’s work. The grade of “I” will appear on
the transcript until the jury has been completed.
· The student will begin the jury with a selection of their
choice, the faculty then will select a second selection or selected
portions of any of the remaining repertoire.
FURTHER INFORMATION
· It is expected that the student will purchase the appropriate
scores for lesson material assigned. Duplication of music is
illegal and subject to significant fines. It is important to build
your library of music just as you would any other subject.
Temporary duplication may be necessary until ordered music arrives
and must then be destroyed.
· Consult carefully the Voice Area Handbook for complete
information about course numbers, pre-professional jury
expectations, accompanists, recital procedures, and other items
significant to your study of voice.
RECOMMENDED TEXTS
All are on reserve in the library. I recommend you use these
texts during the course and then begin to build your professional
library by purchasing the one(s) you find most relevant to your
career path.
Vocal Pedagogy
Discover Your Voice: How to Develop Healthy Habits by Oren Brown
(1996). A comprehensive text for self-study, study with a private
teacher, or classroom instruction. He speaks of concepts,
perceptions, exercises, acoustics, and physiology.
The Structure of Singing by Richard Miller (1986). Combines the
physical, technical, and artistic aspects of singing. The text
demonstrates the scientific basis of exercises and vocalises,
covering all major areas of vocal technique.
Solutions for Singers by Richard Miller (2004). Explores singers
and teachers unanswered questions, filling in gaps that
professional performers, students of singing, and voice teachers
have long sought to close.
Poetry and Text Translation
The Fischer-Dieskau Book of Lieder by Dietrich Fischer-Dieskau
(1995). Translations of 750 German poems, with an introductory
essay by Fischer-Dieskau.
Poetry Into Song: Performance and Analysis of Lieder by Deborah
Stein and Robert Spillman (1996). A valuable discussion of German
poetry in the Romantic period, as well as musical analysis and
thorough exploration of interpretative issues.
A French Song Companion by Graham Johnson and Richard Stokes
(1999). Published more recently than the required Bernac book, this
contains biographical information on composers and poets, as well
as translations of many of the French texts covered in this
course.
Repertoire and Programming
The Art of the Song Recital by Shirlee Emmons and Stanley
Sonntag (1979). Contains many sample recital programs, excellent
song repertoire list including duets/ensembles and songs with
instruments, and valuable chapters on programming.
Music for the Voice by Sergius Kagen (1968). Lists repertoire in
various periods, styles and languages including range, suitable
voice types, and brief descriptive remarks.
Singer’s Repertoire by Berton Coffin (1960). Four volumes of
repertoire (sop., mezzo, tenor, baritone) categorized by chief
technical characteristic (ex. “piano singing” or
“crescendo/decrescendo”).
CRITICAL LISTENING PROJECT LISTS
All albums are currently listed on my public Spotify stations as
‘Applied Voice’. I recommend you use these albums to help you
better understand the technique we are requesting of you.
SOPRANO LISTENING LIST
Elly Amelling – The Artistry of Elly Amelling
Renata Tebaldi – Classic Recital
Elisabeth Schwartzkopf – The Very Best of Elisabeth
Schwartkopf
Kirsten Flagstad Edition – The Decca Recitals
Margaret Price – Brahms Lieder
Lucia Popp – The Very Best of Lucia Popp
Monserrat Cabellé - Tonadillas y Canciones Amatorias
Leontyne Price – Verdi Heroines: 15 Great Arias and Scenes from
8 Great Operas
Birgit Nilsson – Birgit Nilsson’s Greatest Songs and Arias
Joan Sutherland – La stupenda, The Supreme Joan Sutherland
Victoria de los Angeles – The Very Best of Victoria de los
Angeles
Jessye Norman – The Very Best of Jessye Norman
Kiri Te Kanawa – Greatest Hits
Angela Gheorghiu – My World: Songs from Around the Globe
Beverly Sills – The Great Recordings
Mirella Freni – The Very Best of Mirella Freni
Arleen Auger – Love Songs Recital
Renata Scotto – Live in Paris
Edita Gruberova – The Art of Coloratura
Emma Kirkby – The Pure Voice of Emma Kirkby
Barbara Bonney – American Songs
Ruth Ann Swenson – i carry your heart
Ana Maria Martinez – Soprano Songs and Arias
MEZZO-SOPRANO & CONTRALTO LISTENING LIST
Janet Baker – The Very Best of Janet Baker
Shirley Verrett – The Carnegie Hall Recital
Marilyn Horne – Marilyn Horne The Complete Decca Recordings
Anne Sofie von Otter – In My Element
Frederica von Stade – Collaborations
Cecilia Bartoli – Arie Antiche: Se tu m’ami
Joyce DiDonato – Songs of Fauré, Hahn & Head; Arias by
Rossini and Handel
Elīna Garanča – Bel canto
Teresa Berganza – Zarzuela Recital
Susan Graham – La Belle Ѐpoque: The songs of Reynaldo Hahn
Christa Ludwig – The Very Best of Christa Ludwig
Fiorenza Cossotto – The Art of Fiorenza Cossotto
Grace Bumbry – Singers of the Century
Ebe Stignani – Lebendige Vergangenheit
Sarah Connelly – Heros and Heroines Handel
Rita Gorr – Rita Gorr Sings French Opera
Margarete Matzenauer – Lebendige Vergangenheit
Jennifer Larmore – Bravura Diva
Stephanie Blythe – Handel/Bach Arias
Olga Borodina – A Portrait
Alice Coote – Mahler Song Cycles
Kathleen Ferrier – The Finest Brahms Recordings
Marian Anderson – Victor Vocal Series
Ewa Podleś – Chopin, Rachmaninov, Tchaikovsky & Musorgsky
Songs
TENOR LISTENING LIST
Enrico Caruso – The Legendary Caruso
Jussi Björling – 100th Anniversary Anthology
Carlo Bergonzi – Italian Songs
Franco Corelli – The Complete Cetra Recordings
Guiseppe di Steffano – Singers of the Century
Nicolai Gedda – Great Moments of Nicolai Gedda
Fritz Wunderlich – Schumann: Dicterliebe, Schubert &
Beethoven: Lieder
Jon Vickers – Jon Vickers in Recital 1974
Luciano Pavarotti – Pavarotti’s Greatest Hits
Plácido Domingo – The Best of Plácido Domingo
Alfredo Krauss - Canciones Italianas y Españolas
José Carreras - José Carreras sings Catalan Songs
Jonas Kaufman – Schubert: Winterreise
Lawrence Brownlee – Donizetti & Bellini : Allegro io son
Juan Diego Flórez – The Ultimate Collection
Rolando Villazón – Viva Villazón!
Celso Albelo - ĺntimamente
Tito Schipa – Neapolitan Songs
Lauritz Melchior – The Wagner Roles
Peter Pears – Peter Pears & Benjamin Britten: Performances
in Leningrad (Live)
Sergy Lemeshev – The Russian School
Beniamino Gigli – The Very Best of Beniamio Gigli
John McCormack – The Ultimate John McCormack
BARITONE/BASS-BARITONE/BASS LISTENING LIST
Dietrich Fischer-Dieskau – Recordings from the Archives
Dmitri Hvorostovsky – Heros and Villians
Tito Gobbi – The Very Best of Tito Gobbi
Robert Merrill – Robert Merrill: Classic Recital
Leonard Warren – Verdi Baritone Arias
Gerald Finley – Tchaikovsky, Mussorgsky, Rorem: Live at Wigmore
Hall
Thomas Hampson – The Very Best of Thomas Hampson
Sherrill Milnes – Works by Charles Thomlinson Grifes
Simon Keenlyside – Schumann: Dichterliebe
Matthias Goerne – Schubert: Schwanengesang & Beethoven: An
die Ferne Geliebte
Christian Gerhaber – Schumann: Lieder
Pavel Lisitian – Lebendige Vergangenheit
Tita Ruffo – The Tita Ruffo Edition
José Van Dam – Chansons de Tourjours
Samuel Ramey – Samuel Ramey Sings Operatic Arias
John Shirley-Quirk: English Song
Bryn-Terfel – Silent Noon
Erwin Schrott – Arias by Mozart, Verdi,Berlioz, Gounod &
Meyerbeyer
Hans Hotter – The Art of Hans Hotter
Boris Christoff: Icon
Kurt Moll – Famous Opera Arias
Ezio Pinza – Recorded 1923-1930
René Pape - Wagner
TENTATIVE STUDIO SCHEDULE
Please get your music to the accompanist no later than the
Friday before you sing. Cost of the studio class is $30 for the
semester and will be due no later than Monday, January 29,
2018.
ALL STUDIO CLASS PERFORMANCES MUST BE MEMORIZED.
Date
Performers
Name of Song
1/22/2018
Syllabus
1/29/2018
Jacque Hale
Jessica Baylon
Susie Smith
2/5/2018
Samantha Davalos
Selena Diaz
Tiffany Davis
2/12/2018
NATS Practice
2/19/2018
Isacc Hernandez
Carlos Barrazas
Toni Torres
2/26/2018
Julian Monroy
George Munoz
Alejandra Sandoval
3/5/2018
Elida Morales
Rebecca Gonzalez
Shelby Estala
3/12/2018
SPRING BREAK
3/19/2018
Samantha Davalos
Selena Diaz
Tiffany Davis
3/26/2018
Jacque Hale
Jessica Baylon
Susie Smith
4/2/2018
Edward Rodriguez
Ivan Lopez
Wesley Weikel
4/9/2018
Isacc Hernandez
Carlos Barrazas
Toni Torres
4/16/2018
Julian Monroy
George Munoz
Alejandra Sandoval
4/23/2018
Elida Morales
Rebecca Gonzalez
Shelby Estala
4/30/2018
Edward Rodriguez
Ivan Lopez
Wesley Weikel
TENTATIVE STUDIO RECITALS
Failure to attend all studio voice area recitals or appropriate
dress rehearsals of said recitals will be considered an indication
of lack of initiative and will reflect negatively on the grade
earned for the semester.
Attendance at recitals, especially recitals of your colleagues
and teachers in the voice area are considered a vital part of your
education and should NOT be missed. Plan accordingly to be in
attendance.
Name
Dress Rehearsal
Recital
Location
Selena Diaz & Samantha Davalos
March 10, 2018, 10:00am-1:00pm
March 23, 2018, 5:30pm-6:30pm
Fox Fine Arts Recital Hall
Susie Smith
March 8, 2018, 5:00pm-7:00pm
March 24, 2018, 5:30pm-6:30pm
Fox Fine Arts Recital Hall
Jacque Hale
March 31, 2018, 1:00pm-3:00pm
April 7, 2018, 5:30pm-6:30pm
Fox Fine Arts Recital Hall
Jessica Baylon
April 7, 2018
1pm-3pm
April 14, 2018
7:30pm-8:30pm
Fox Fine Arts Recital Hall