Post on 28-Jun-2018
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 Opera at Work
Module code OS401
Credit rating 20
Level 4
Indicative Contact hours See learning hours
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:
introduce you to the historic, economic and cultural contexts of opera performance today
contextualise the finished productions in relation to the policies and internal
organisation of the opera companies
assist you in examining the relationship between opera companies and their
audiences/communities
develop your abilities in using and evaluating a variety of research material
3. BRIEF DESCRIPTION OF THE MODULE
This module discusses the role of opera in society. The various aspects of production are explored explaining how collaborations work and the different roles required together with the economics of the art form in terms of fund raising and management. The broader aspects of community opera and the role of the media conclude the module.
ROSE BRUFORD COLLEGE OF THEATRE & PERFORMANCE Module Specification
2
4. INTENDED LEARNING OUTCOMES
Category of outcome You will be able to:
Knowledge and understanding
identify financial, political and operational contexts in which operas are produced and how they impact on the artistic decision-making process. 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 methods identify specific models of theory and analysis appropriate for the study of opera identify financial streams and their impact on opera production
Practical skills undertake detailed comparative analyses of operas and approaches to opera practice
Transferable skills and personal qualities
start to practice scholarly modes of presentation and approaches to referencing and bibliography present a structured argument in written assignments start to identify the theoretical assumptions informing their own work and the writings/practices of others formulate a comprehensive response to a designated assignment
5. LEARNING AND TEACHING PROCESSES (INCLUDING THE USE OF E-LEARNING)
The module will be taught by distributed written teaching material containing graded exercises with full responses as well as interactive exercises. A specialist tutor will be available for regular student support online and via email.
6. ASSESSMENT (INCLUDING THE USE OF E-LEARNING)
Assessment task Length Weighting within module (if relevant)
Written assignment 1 Written assignment 2
2000 +/- 10% 3000 +/- 10%
40% 60%
ROSE BRUFORD COLLEGE OF THEATRE & PERFORMANCE Module Specification
3
7. FURTHER INFORMATION
Semester 1 or 2
Available on which programme(s)?
Opera Studies
Available as Free Choice (UG) or to other programmes (PG)?
No
Content Weeks 1 and 2
Discussion of the role of opera and its present position within society in the UK, Europe and America. The principles of production and a discussion of the various roles within a company.
Weeks 3 and 4
A discussion of the roles of the director and the the concept of ‘director’s opera’.
Weeks 5 and 6
Fundraising and the economics of opera: revenue streams and methods of increasing revenue
Weeks 7 and 8
Company management: mission statements, marketing strategies
Weeks 9 and 10
The work and role of education departments
Weeks 11 and 12
Community opera
Weeks 13 and 14
The influence and role of the media
Weeks 15 and 16
The role of the critic
Feedback
Written responses are given for the graded exercises within the module material. Full comments are given on submitted written work with suggestions for future improvement.
ROSE BRUFORD COLLEGE OF THEATRE & PERFORMANCE Module Specification
4
Indicative Reading Abraham, Gerald. The Concise Oxford History of Music Oxford: OUP, 1991 Berman, Annarosa. The Company We Keep Sydney, Currency Press, 2006 Christiansen, Rupert. Prima Donna – A History. London. Pimlico. Revised Edition 1995.
Citron, Marcia. Opera on Screen Yale: University Press, 2000
Gilbert, Susie, & Shir, Jay. A Tale of Four Houses London: Harper Collins, 2003
Higgins, John. Glyndebourne – a Celebration London: Jonathan Cape, 1984
Holden, Raymond. The Virtuoso Conductors Yale: University Press, 2005
Kolb, Bonita. Marketing for Cultural Organisations Thompson Learning, 2005
Lebrecht, Norman. Covent Garden, the untold story Boston: Northern University Press, 2000
Lebrecht, Norman. The Maestro Myth: Great Conductors in Pursuit of Power London: Pocket Books, 1997. Maretzek, Max. Revelations of an Opera Manager in 19th Century America. New
York: Dover Publications Inc., 1968. Pleasants, Henry. Opera in Crisis London:Thames and Hudson, 1989 Snowman, Daniel. The Gilded Stage London: Atlantic Books, 2009
Sutcliffe, Tom. Believing in Opera. London: Faber, 1996
Tambling, Jeremy. Opera, Ideology and Film Manchester: University Press, 1987
Waugh, Alexander. Opera: A New Way of Listening. London: De Agostini Editions, 1996
Williams, Bernard. On Opera Yale: University Press, 2006
Proposed start date September 2012
Date of approval (for UoM office use)
Information updated on
Date of current version (for RBC use)
Jan 2012
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 OS402
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 the
vocal score of an opera
• develop your understanding of basic concepts such as keys, tonality, tonics and
dominants and to apply them in the study of vocal 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 both opera and instrumental music.
4. INTENDED LEARNING OUTCOMES
ROSE BRUFORD COLLEGE OF THEATRE & PERFORMANCE Module Specification
2
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 and orchestral scores read simple lines of musical 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 opera, 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 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 written text via our E-learning platform. The material has staged exercises and tasks throughout, most being interactive. All exercises have full explanatory responses.
6. ASSESSMENT (INCLUDING THE USE OF E-LEARNING)
Assessment task Length Weighting within module (if relevant)
A multiple choice question A series of short essay answers
2000 words equivalent 3000 words +/- 10%
40% 60%
7. FURTHER INFORMATION
Semester 1 or 2
Available on which programme(s)?
Opera Studies
ROSE BRUFORD COLLEGE OF THEATRE & PERFORMANCE Module Specification
3
Available as Free Choice (UG) or to other programmes (PG)?
No
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 written text via our E-learning platform. The material has staged exercises and tasks throughout, many being interactive. All exercises have fully explanatory responses. Distributed written material with graded exercises and tasks, many interactive, and all with 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
Jones, G. T. Music Theory London: Harper Collins, 1974 Nickol, Peter. Learning to Read Music Oxford: How to Books, 2008 Richer, Margaret. Understanding Music Theory Oxford: Hodder Education, 2010 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 2012
ROSE BRUFORD COLLEGE OF THEATRE & PERFORMANCE Module Specification
4
Date of approval (for UoM office use)
Information updated on 4.1.12
Date of current version (for RBC use)
4.1.12
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 Analysis Part 1
Module code OS403
Credit rating 10
Level 4
Indicative Contact hours n/a
Pre-requisite modules OS402
Co-requisite modules none
School responsible School of Performance
Member of staff responsible Dr F Jane Schopf
ECT* 5
Notional hours of Learning** 100
2. AIMS
The module aims to: enable you to analyse operatic arias in terms of their musical features enable you to relate the musical score to the dramatic moment enhance your understanding of opera by recognising the structures and compositional tools composers use to set texts develop your analytical skills with regard to basic operatic structures
3. BRIEF DESCRIPTION OF THE MODULE
The module will focus on operatic structures such as recitative, da capo aria, ritornello and explore their structures and functions within operas relating their use to the dramatic texts. The question of musical unity within a work will be discussed. Orchestral score layout will be studied together with the families of instruments.
4. INTENDED LEARNING OUTCOMES
ROSE BRUFORD COLLEGE OF THEATRE & PERFORMANCE Module Specification
2
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 arias 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 opera, 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 bibliography present a structured argument in written assignments maintain scholarly modes of presentation and approaches to referencing and bibliography present a structured argument in written assignments formulate a comprehensive response to a designated assignment
5. LEARNING AND TEACHING PROCESSES (INCLUDING THE USE OF E-LEARNING)
You will receive written text via our E-learning platform. The material has staged exercises and tasks throughout, most being interactive. All exercises have full explanatory responses.
6. ASSESSMENT (INCLUDING THE USE OF E-LEARNING)
Assessment task Length Weighting within module (if relevant)
Written task Analysis of a short aria and recitative
1,000 words 2,000 words
40% 60%
7. FURTHER INFORMATION
Semester 1 or 2
Available on which programme(s)?
Opera Studies
ROSE BRUFORD COLLEGE OF THEATRE & PERFORMANCE Module Specification
3
Available as Free Choice (UG) or to other programmes (PG)?
No
Content Weeks 1 and 2 Operatic Forms - I Exporation of operatic structures such as recitative, arioso, aria shapes, ensembles, ground basses, overture/prelude relating musical shapes and features to dramatic intentions. Weeks 3 and 4 Operatic 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 written text 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 Cutter, B. Harmonic Analysis Cornell University, 2009 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 an Text: critical enquiries Cambridge: CUP, 1992
Swain, J. P. Harmonic Rhythm Oxford: OUP, 2002
Proposed start date September 2012
Date of approval (for UoM office use)
ROSE BRUFORD COLLEGE OF THEATRE & PERFORMANCE Module Specification
4
Information updated on
Date of current version (for RBC use)
1 July 2013
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 Analysis Part 2
Module code OS404
Credit rating 10
Level 4
Indicative Contact hours n/a
Pre-requisite modules OS402, OS403
Co-requisite modules none
School responsible School of Performance
Member of staff responsible Dr F Jane Schopf
ECT* 5
Notional hours of Learning** 100
2. AIMS
The module aims to: further your ability to analyse operatic forms and structures in relation to the dramatic text expand your vocabulary of analytical methods give you tools to use these methods and techniques in your writing
3. BRIEF DESCRIPTION OF THE MODULE
This module builds on OS403 by looking at sonata principle and its use within opera as well as a basic introduction to voice leading. More advanced examples will be used to help you deconstruct a work to find the connection between text and score. The breakdown of tonality as seen in Wagner’s Tristan und Isolde and its meaning for western music will be discussed.
ROSE BRUFORD COLLEGE OF THEATRE & PERFORMANCE Module Specification
2
4. 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 opera, 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 bibliography present a structured argument in written assignments 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 formulate a comprehensive response to a designated assignment
5. LEARNING AND TEACHING PROCESSES (INCLUDING THE USE OF E-LEARNING)
You will receive written text via our E-learning platform. The material has staged exercises and tasks throughout, most being interactive. All exercises have full explanatory responses.
6. ASSESSMENT (INCLUDING THE USE OF E-LEARNING)
Assessment task Length Weighting within module (if relevant)
Written An analysis using a technique of your choice
1,000 words Equivalent to 2,000
40% 60%
7. FURTHER INFORMATION
Semester 1 or 2
Available on which programme(s)?
Opera Studies
Available as Free Choice (UG) or to other programmes (PG)?
No
ROSE BRUFORD COLLEGE OF THEATRE & PERFORMANCE Module Specification
3
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
Teaching Method You will receive written text 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
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 Tobin, J. R. Mozart and the Sonata Form London: Da Capo Press, 1978
Proposed start date September 2012
Date of approval (for UoM office use)
Information updated on
Date of current version (for RBC use)
July 2013
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 Opera in Context
Module code OS405
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:
enable you to engage with some of the basic aims, accomplishments and problems of
opera, as both a musical and staged dramatic form
develop your abilities to situate and analyse operas in their historical and cultural
contexts
develop your abilities to analyse dramatic form
enable you to identify the relationships between music, drama, staging and theatre space,
social structure and cultural context.
3. BRIEF DESCRIPTION OF THE MODULE
The module seeks to place the study of opera in historical and cultural contexts. The historical
scope of the module is from the beginnings of opera to the present day, with a particular focus
on the periods of three crucial operatic innovators: Monteverdi, Gluck and Wagner.
ROSE BRUFORD COLLEGE OF THEATRE & PERFORMANCE Module Specification
2
4. INTENDED LEARNING OUTCOMES
Category of outcome You will be able to:
Knowledge and understanding
begin to situate operas within their historical, social and political contexts identify financial, political and operational contexts in which operas are produced and how they impact on the artistic decision-making process place opera 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 opera 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 methods identify and apply analytical approaches appropriate for systematic historical and contextual inquiry
Practical skills undertake detailed comparative analyses of operas and approaches to opera practice utilise specialised skills in comparative opera analysis 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 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
5. LEARNING AND TEACHING PROCESSES (INCLUDING THE USE OF E-LEARNING)
ROSE BRUFORD COLLEGE OF THEATRE & PERFORMANCE Module Specification
3
You will receive written text via our E-learning platform. The material has staged exercises and tasks throughout, many being interactive. All exercises have full explanatory responses.
6. 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%
7. FURTHER INFORMATION
Semester 1 or 2
Available on which programme(s)?
Opera Studies
Available as Free Choice (UG) or to other programmes (PG)?
No
Content Weeks 1 and 2
Towards a definition of opera. Librettist-composer collaboration; role of the singer.
Weeks 3 and 4
Antecedents of opera; the first operas; the spread of the new style.
Weeks 5 and 6
Handel in London and Gluck’s reforms
Weeks 7 and 8
Mozart and the relationship between text, music and drama
Weeks 9 and 10
Rossini, Bellini, Donizetti, Meyerbeer and Grand Opera
Weeks 11 and 12
Beethoven, Marschner, introducing Wagner and Verdi
Weeks 13 and 14
Verdi Rigoletto Wagner Die Walküre
Weeks 15 and 16
Modern and Post Modern opera and musical theatre genres
ROSE BRUFORD COLLEGE OF THEATRE & PERFORMANCE Module Specification
4
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
Indicative Reading Arblaster, Anthony. Viva la Libertà London: Verso, 2000
Barbier, P. Opera in Paris, 1800-1850 Amadeus, 1995
Dahlhaus, C. Nineteenth-century Music University of California Press, 1989
Cooke, Mervyn. Twentieth-century Opera Cambridge: CUP, 2005
Millington, B. Wagner Dent, 1984
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
Proposed start date September 2012
Date of approval (for UoM office use)
Information updated on
Date of current version (for RBC use)
Dec. 2011
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 Ways of Talking about Opera
Module code OS406
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:
encourage you to be able to question the status of a work of art
enable you to examine how meaning can be read from performance
offer you insights into modes of writing about theatre
strengthen your awareness of models of theory appropriate for the study and
understanding of opera and performance
3. BRIEF DESCRIPTION OF THE MODULE
This module examines the question of how a work of art can be ‘read’, and how it can be written
about. It also interrogates the concept of culture and why some operatic events or practitioners
achieve enduring status. It poses fundamental questions about the nature of art, and moves on to
apply these to opera. It considers the effect of the historical, political and ideological contexts
upon a work of art. It also asks how works of art, particularly opera, convey meaning and how
that meaning is interpreted by audiences.
ROSE BRUFORD COLLEGE OF THEATRE & PERFORMANCE Module Specification
2
4. INTENDED LEARNING OUTCOMES
Category of outcome You will be able to:
Knowledge and understanding
identify financial, political and operational contexts in which operas are produced and how they impact on the artistic decision-making process. Evaluate judgements of taste and value in a range of critical domains acquire an informed awareness of the working contexts and organisation of historical and contemporary opera production read meaning from performance
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 of operas and approaches to opera practice utilise specialised skills in comparative opera analysis
Transferable skills and personal qualities
maintain scholarly modes of presentation and approaches to referencing and 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 respond to the precise terms of a designated assignment identify the theoretical assumptions informing their own work and the writings/practices of others formulate a comprehensive response to a designated assignment
5. LEARNING AND TEACHING PROCESSES (INCLUDING THE USE OF E-LEARNING)
You will receive written text via our E-learning platform. The material has staged exercises and tasks throughout, many being interactive. All exercises have fully explanatory responses.
6. ASSESSMENT (INCLUDING THE USE OF E-LEARNING)
ROSE BRUFORD COLLEGE OF THEATRE & PERFORMANCE Module Specification
3
Assessment task Length Weighting within module (if relevant)
Formative, multi-part Summative (essay based)
2000 (+/- 10%) 3000 (+/- 10%)
40% 60%
7. FURTHER INFORMATION
Semester 1 or 2
Available on which programme(s)?
Opera Studies
Available as Free Choice (UG) or to other programmes (PG)?
No
Content Weeks 1 -4 Abigail’s Party
The material guides you towards recognising some of the ways performances identify themselves through design, characterisation and acting style as well as investigating how different productions of the same piece can acquire radically different meanings through staging and contextual framing.
Weeks 5-8 Eugene Onegin
The material deals with theatrical naturalism with an examination of operatic verismo and the development of Romanticism. It will examine Graham Vick’s production for Glyndebourne Festival Opera in 1994 and Petr Weigl’s 1988 film, based on the Solti recording. Students will investigate opera as a coded form and examine ways space, setting and visual elements contribute to meaning-making. Weeks 9-12 Cosi fan Tutte
By contrasting conventional and radical approaches to this opera, this material will further develop your ideas around feminist theory. We will study Nicholas Hytner’s production for Glyndebourne Festival Opera in 2006, Jonathan Miller’s 1997 production for the Royal Opera and Peter Sellars’ 1991 video of his long-running production. Weeks 13-16 Das Rheingold
This material will look at two productions of the first Ring opera, and will further develop the idea of context as a key determinant in the creation of performance meaning. The material will use Otto Schenk’s New York Metropolitan production, and the Bayreuth centenary production by Patrice Chéreau. Through the Chéreau production, we will introduce Marxist theory as a critical perspective.
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
ROSE BRUFORD COLLEGE OF THEATRE & PERFORMANCE Module Specification
4
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
Indicative Reading Badiou, Alain. Five lessons on Wagner Trans. Susan Spitzer, London and New
York: Verso, 2010 Fortier, Mark. Theory / Theatre: An Introduction. London & New York: Routledge,
1997. Frost, Anthony & Yarrow, Ralph: Improvisation in Drama. Basingstoke, Palgrave Macmillan 2007. Pushkin, A. Eugene Onegin. Translated by Charles Johnston. London: Penguin
Classics, 2003. Styan, J.L. Modern Drama in Theory and Practice – Realism and Naturalism.
Cambridge: CUP, 1981. Sutcliffe, Tom. Believing in Opera. London: Faber, 1996. Treadwell, James. Interpreting Wagner London and New York: Yale University
Press, 2003
Proposed start date September 2012
Date of approval (for UoM office use)
Information updated on
Date of current version (for RBC use)
18.12.11
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 The Singer
Module code OS407
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:
further your understanding of the role of the singer in relation to the composition
and production of opera
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
3. 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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4. INTENDED LEARNING OUTCOMES
Category of outcome You will be able to:
Knowledge and understanding
begin to situate operas within their historical, social and political contexts identify financial, political and operational contexts in which operas are produced and how they impact on the artistic decision-making process place opera composers, librettists and practitioners in historical and relative contexts evaluate judgements of taste and value in a range of critical domains explain and discuss significant developments in opera gain a detailed knowledge of the main artistic movements, traditions and ideologies that influence and inform opera in all periods of its history 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
Transferable skills and personal qualities
maintain scholarly modes of presentation and approaches to referencing and 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 their own work and the writings/practices of others formulate a comprehensive response to a designated assignment
5. LEARNING AND TEACHING PROCESSES (INCLUDING THE USE OF E-LEARNING)
ROSE BRUFORD COLLEGE OF THEATRE & PERFORMANCE Module Specification
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You will receive written text via our E-learning platform. The material has staged exercises and tasks throughout, many being interactive. All exercises have fully explanatory responses.
6. 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%
7. FURTHER INFORMATION
Semester 1 or 2
Available on which programme(s)?
Opera 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 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 Benedetti, Jean. Stanislavski: An Introduction London: Methuen, 1982. Bentley, Eric, ed. The Theory of the Modern Stage Harmondsworth: Penguin Books, [1968] 1992. Budden, Julian. “Verdi and the World of the Primo Ottocento.” The Operas of
Verdi. Vol.I. Oxford: Clarendon Press, 1992. Budden, Julian. “The Collapse of Tradition (Italian Opera 1840-70).” The Operas Of Verdi, Vol.II. [Oxford: Clarendon, 1992
Carreras, José. Singing From the Soul: An Autobiography London: Souvenir Press, [1991] 1994. 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 London: Phoenix Press, 2005
Fitzlyon, April. Maria Malibran: Diva of the Romantic Age London: 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.
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. Matheopoulos, Helen. Diva: Great Sopranos and Mezzos Discuss Their Art Boston, MA: Northeastern University Press, 1992
Platoff, John. “The buffa aria in Mozart’s Vienna.” Cambridge Opera Journal Vol. 2, no 2 (July 1990).
Pleasants, Henry. The Great Singers Hemel Hempsted: Prentice Hall, 1981. Poriss, Hilary. Changing the Score Oxford: OUP, 2009
Rosselli, John. Singers of Italian Opera: The History of a Profession Cambridge: Cambridge University Press, 1995
Scott, Michael. The Record of Singing, Vols.I & II. London: Gerald Duckworth & Co., 1993.
Thomson, Peter and Glendyr Sacks, ed. The Cambridge Companion to Brecht Cambridge: CUP, 2007
Proposed start date September 2012
Date of approval (for UoM office use)
Information updated on
Date of current version (for RBC use)
22.12.11
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 The Singer in Practice
Module code OS407A
Credit rating 20
Level 4
Indicative Contact hours 48 (6 hours x 8 sessions) plus independent study
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: further your understanding of the role of the singer in relation to the composition and production of opera enable you to study and practise the technical aspects of opera singing within an historical perspective increase your knowledge and practise as a performer 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 enable you to develop your performance skills and guide you vocally and in terms of suitable repertoire
3. BRIEF DESCRIPTION OF THE MODULE The module offers
The module offers singers the opportunity to work intensively on vocal technique in addition to studying the history behind the role of the singer, as well as historical context. It focuses on individual performances and includes vocal coaching, text work, movement, dramatic interpretation with established industry professionals through Associated Studios in London. The module includes a contextual essay and concludes with solo performances.
ROSE BRUFORD COLLEGE OF THEATRE & PERFORMANCE Module Specification
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4. INTENDED LEARNING OUTCOMES
Category of outcome You will be able to:
Knowledge and understanding
begin to situate operas within their historical, social and political contexts identify financial, political and operational contexts in which operas are produced and how they impact on the artistic decision-making process place opera composers, librettists and practitioners in historical and relative contexts evaluate judgements of taste and value in a range of critical domains explain and discuss significant developments in opera gain a detailed knowledge of the main artistic movements, traditions and ideologies that influence and inform opera in all periods of its history identify historical perspectives of vocal production undertake detailed comparative analyses of operas and approaches to opera gain an understanding of the performer’s craft, technique and discipline
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 analyse vocal technique and the dramatic interpretation of text
Practical skills utilise specialised skills in movement, voice, singing, and text analysis undertake a performance of a classical song/aria
Transferable skills and personal qualities
maintain scholarly modes of presentation and approaches to referencing and bibliography present a structured argument in written assignments undertake a range of practical assessments to a range of specified briefings respond to the precise terms of a designated assignment identify the theoretical assumptions informing their own work and the writings/practices of others formulate a comprehensive response to a designated assignment respond to stimuli from a varied team of coaches
5. LEARNING AND TEACHING PROCESSES (INCLUDING THE USE OF E-LEARNING)
You will receive blended learning through: Face to face tuition in vocal coaching, acting and movement Written text via our E-learning platform with staged exercises and tasks throughout, many being interactive, all with full explanatory responses.
ROSE BRUFORD COLLEGE OF THEATRE & PERFORMANCE Module Specification
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6. ASSESSMENT (INCLUDING THE USE OF E-LEARNING)
Assessment task Length Weighting within module (if relevant)
1st assignment: contextual essay (RBC staff) 2nd assignment: performance of a classical song or an aria, plus a reflective journal (Jointly RBC and Associated Studios staff)
2000 3000 equivalent
40% 60%
7. FURTHER INFORMATION
Semester 1 or 2
Available on which programme(s)?
Opera Studies
Available as Free Choice (UG) or to other programmes (PG)?
Yes.
Requirements:
Applicants for ' The Singer in Practice' module should have some experience as singers. Applicants will be asked to present two contrasting classical songs or arias at audition. Applicants should demonstrate the ability to sing a variety of repertoire well, and to have the potential and ability to develop this further.
ROSE BRUFORD COLLEGE OF THEATRE & PERFORMANCE Module Specification
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Content
Practical component:
Multiple sessions in the following will be given during the course of the eight bi-weekly classes, which will build in complexity as the weeks progress:
Solo Performance
Movement
Acting
Seminars with Industry Professional focusing on specific topics relating to the Singer's profession.
Written component:
Students will choose FOUR out of these eight two-weekly units:
1. Weeks 1 and 2 The Voice
How the voice is made. Society’s perception of the singer – historical context.
2. 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.
3. 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
4. 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”.
5. 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
6. 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.
7. 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.
8. 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 Blended learning:
Practical component: delivered face to face over 4 months graduating in complexity as the weeks progress
Written component: Distributed written material with graded exercises and tasks, many interactive, and all with responses.
Specified texts
ROSE BRUFORD COLLEGE OF THEATRE & PERFORMANCE Module Specification
5
VLE Wide use of online resources, interactive exercises with responses
Chat rooms and online tutorials
Feedback
Practical component: feedback will be given orally during and after each session.
Written component: feedback will be given via chat rooms, online tutorials and emails and fully annotated written comments on submitted work
Indicative Reading
Proposed start date January 2014
Date of approval (for UoM office use)
Information updated on 18.6.13
Date of current version (for RBC use)
18.6.13