APPLIED VOICE SYLLABUS

Studio of Nell Adams

Fall 2003

See the ADepartmental Syllabus for Applied Voice@ for pertinent information.

ASSIGNMENTS:

1. Composer Reports: Write a one-page report (doubled-spaced typed or singe-spaced handwritten) about the composer of each of your songs. Each report must cite its source(s) in proper bibliographic entries. Submit the report according to the dates on your ASing-from-Memory@ sheet.

2. Interpretation Sheets: Complete an interpretation sheet for each song according to the attached reference sheet. Look to the song text for answers. If any question refers to something not specifically address in the text, provide an answer that maintains and compliments the textual thought and musical mood. Have fun and be creative. Submit answers for each song according to the dates on your ASing-from-Memory@ sheet.

3. Listening Activities: Listen to recordings (approximately 50 min. each which is comparable to one full CD or both sides of a record) of individual soloists singing music comparable to the literature you have been assigned this semester. Most Freshmen are assigned songs with English and Italian or Latin texts, while Sophomores add songs with German texts and further study introduces French texts. Try to find recordings of songs sung in the language you are currently studying. For Freshmen and Sophomores, recordings of Art Songs with piano accompaniment are preferable to works with orchestral accompaniment . CD=s, records, and listening equipment are housed in the Library Resource Center (LRC) in Speed Library. While listening, follow the text of the song or aria when possible.

Write a brief report including: the call number of the recording, the name of the singer, the name of the recording, a list of the selections, and a scant commentary on what you hear in each song based on your perception and understanding of the technical aspects of vocal production; e.g., breath support and control, diction, clarity of tone, legato lines, vibrato rate, dynamic levels, tonal consistency, etc. Include at least two of these features in your brief comments on each song.

The reports on these listening activities are due to the dates on your ASing-from-Memory@ sheet. For extra credit (one point each toward your studio grade) you may submit additional reports through Apr. 30 but never two in one week.

4. Performance Opportunities: Sing in studio recitals and Solo Hour Recitals as assigned. Your attendance at studio recitals, whether you are scheduled to sing or not, is required, and your attendance will count one point for each one.

Studio recitals are tentatively scheduled at 3:00 on 2-17 and at 1:00 on 3-5 and 4-2. Clear these dates on your calendar now. Check my studio door for location and possible changes of date or time.

Your participation in the auditions of the regional and state competitions of the National Association of Teachers of Singing (NATS) is suggested by the instructor and will afford you 5 extra points toward the studio grade. The spring semester state meeting is at Millsaps College in Jackson, MS on Apr. 4-5 2003. The registration cost for the student is $12.00 per entry. All other expenses (lodging, meals, transportation) are paid by the individual student also but when split among other students are not excessive. (No lodging costs this semester.)

When singing in Solo Hour, semester juries, or NATS auditions, wear dressy clothes. Men=s attire should include a coat and tie. Women should dress with hemlines falling BELOW THE KNEES and avoid light- or brightly-colored leg covering. They may also wear a dressy pants suit. The official dress is termed afternoon performance attire.

5. Practice: Two semester-hours credit requires ten practice-hours per week. Sign up for five practice hoursBone per day--on the sheets posted by the practice room doors on the third floor of Aven. By signing your name to claim certain days, times, and rooms, you will have exclusive access for practice during the entire semester. If you are late, your room can be taken by anyone else. Your instructor will periodically check to see that you are in attendance during the these times. Other practice hours are at your discretion.

6. Items: Bring a cassette tape to your first lesson so your accompanist tape your accompaniments, or your can bring a dollar to cover the cost of such. Make copies of your songs for your accompanist, a legal action for educational purposes. Call the Music Box, 956-0792, and ask that the voice books you will be instructed to purchase either be held in your name until you can pick them up as soon as possible, or ask that they be ordered immediately.

ATTENDANCE: When you arrive at your lesson, come with the voice warmed up. SPEND AT LEAST 10 MINUTES IN EXERCISES TO STIMULATE ENERGETIC BREATH ACTION AND TO ESTABLISH THE CORE OF YOUR VOICE AS FOUND IN THE PURE VOWEL. Be sure that you have drunk AT LEAST 2 GLASSES OF WATER for a morning lesson and 4 GLASSES for an afternoon lesson. At your lesson time, please knock audibly on the door. Bring a pencil. Have a pencil with you. Please bring either a cassette to tape or a CD-R to your lessons for recording. Always include a pencil with your lesson material.

You must bring this entire syllabus to every lesson along with your music, your index cards with rhythmic notation and textual information as instructed in the ALearning Order Sheet,@ your accompaniment recording, and a PENCIL.

Absence from a lesson will be made up if the absence is based on the following criteria, which includes notification from the student in a timely manner: (1) an illness which can be substantiated by an excuse from the school nurse or your doctor, (2) an official MC responsibility, (3) or a personal emergency which is considered such by the instructor. Absence for any other reason will not require a make-up lesson.

If you cannot attend a lesson, contact me as soon as possible. If you are unable to reach me personally (925-3924 studio and 924-0289 home), please notify the music office (925-3440) and ask them to leave a message for me and, if applicable, for your accompanist. If the absence is known far enough in advance, try to make arrangements with another student to exchange lessons times, and notify me of the change. (When doing this, be aware of accompanied lessons.)

EVALUATION: Your studio grade is two-thirds of your semester grade. This grade is designed to represent a very objective evaluation and hinges entirely on how you prepare for, attend, and execute scheduled requirements at your weekly lessons. Your end-of-the-semester jury grade is the other third of your semester grade. This grade is an average of the grade you receive from the other members of the voice faculty and hinges entirely on how you perform during your jury. Sufficient daily preparation by you, resulting in secure weekly abilities demonstrated in your lessons, is the most productive means of attaining satisfactory results at the end of the semester; which, in turn, paves the road for free and efficient vocal development.

The studio grade will be determined by adding the number of points you have accumulated on your ASing-from Memory@ sheet.

Grading Scale:

A = 100-93; B = 92-85; C = 84-77; D = 76-69; F = 68 and below

Please wear no perfumes or heavy colognes to your lessons. L E A R N I N G O R D E R S H E E T

T E X T

1. On note cards, write out the rhythmic notation of the melody then put the IPA transcriptions, to be best of your ability, above the rhythmic notation and the word-by-word translations, if applicable, below the notation. Transfer the IPA transcription and the word-by-word translations to your musical score.

FOR #2 - #4 below, SPEAK AT A PITCH JUST ABOVE YOUR NORMAL SPEAKING PITCH AND NEVER LET THIS PITCH DROP. ALSO, WHEN READING, KEEP THE EDGES OF THE TONGUE IN THE AUH-HUH@ POSITION, OR TOUCHING THE BOTTOM ROW OF TEETH, EXCEPT FOR THE QUICK, RAPID, AND CLEAR MOVEMENT NECESSARY FOR ANY CONSONANTS. (When reading vowels only, the edges of the tongue should never leave the Auh-huh@ position.)

2. Pronounce all the syllables correctly in legato style. Begin with the (1) vowels separately; when secure, (2) add the initial consonant; when secure,(3) add the final consonant.

3. When secure, follow the same order as in No. 2 and correctly read all the syllables fluently in a legato style while you clap the rhythm. Retain the purity of the vowel.

4. When secure, follow the same order and read in rhythm all the syllables in a legato style, slowly at first and, gradually, securely moving up to tempo. Always elongate the vowel sound until it changes to a new syllable without any guttural differentiation for rhythmic changes.

DO NOT SING THE TEXT OF THE SONG UNTIL YOU CAN SPEAK NO. 4 ABOVE IN RHYTHM, IN TEMPO, AND IN LEGATO FASHION.

M U S I C

1. Steadily count OUT LOUD the melodic rhythm using the syllables you learn in ear-training. (Spend extra time on difficult phrases (at a slower speed) until they can be counted without hesitation and up to speed.)

2. When secure, simultaneously count and clap the melodic rhythm with accents on strong beats while piano accompaniment is being played.

3. When secure, clap while hissing on a SUSTAINED [f] and take a breath at the proper breath phrases.

4. When secure, sing the melody on syllables: Tee [ti], Vah [va], Zoo [zu], Noh [no] or Thay [voiceless the] or as assigned: [vr or br] plus vowel, etc.

5. When secure, sing the melody on text vowels while the edge of the tongue remains in Auh-huh@ position.

6. When secure, sing the melody using the initial consonants plus text vowels always returning the edge of the tongue to the Auh-huh@ position.

7. When secure, sing the melody with complete text but not before the instructor has determined that you have successfully executed No. 4 under TEXT.

8. When secure, sing the song from memory.