Individual Instruction – Applied VoiceMUSA 3295 21582 - SPRING 2018

Monday – Friday 8:30am-1:30pm - FFA 405

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 & OBJECTIVESThis 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, DMAFine Arts 405UTEP Email: bdcatesMobile: 512-264-5144Office Hrs: TBA

BlackboardScheduleReadingsGradebookScores

Bunch DaymeTextbookGuide to healthy vocal production.

McKinneyTextbookVocal pedagogy manual.

Kimball TextbookCharacteristics of poetry and relationship between poetry and musical

Listening ListPDF on BlackboardSpotify Playlists

TABLE OF CONTENTSRequired Texts………………………………………… Pg. 1Course Description & Objectives……………… Pg. 1Grading……………………………………………………. Pg. 2Attendance & Participation……………………… Pg. 2Cell Phone Policy……………………………………… Pg. 2Accommodations…………………………………….. Pg. 2Course Activities……………………………………… Pg. 3-5Recommended Texts……………………………….. Pg. 6Listening Lists….………………………………………. Pg. 7-14Studio Schedule………………………………………. Pg. 15Recital Schedule………………………………………. Pg. 16

settings

GRADINGGrading 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 PARTICIPATIONYou 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 POLICYPlease feel free you use your cell phone in lessons to record your lessons. Otherwise, please silence your cell phones and put them away.

ACCOMMODATIONSYour 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.

Individual Instruction - MUSA 1195 - CATES - Spring 2018 Page 2 of 16

COURSE ACTIVITIES

REPERTOIRE REQUIREMENTS Upper division music education 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 5-6 pieces of music.

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.

2. 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

Individual Instruction - MUSA 1195 - CATES - Spring 2018 Page 3 of 16

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

Individual Instruction - MUSA 1195 - CATES - Spring 2018 Page 4 of 16

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. Students performing their degree recital should limit their involvement to

two ensembles during the semester of their recital. 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.

VOICE JURIES, BARRIER JURIES & PRE-RECITAL HEARINGS● 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.

● Consult the Voice Area Handbook for complete information regarding the Barrier and Pre-Recital Jury requirements.

● All music for a Pre-Recital Hearing must be memorized one month prior to the date or the hearing will not take place and your recital will be cancelled.

FURTHER INFORMATION The academic and vocal growth of the student should be the first and

primary objective of the voice student. With this in mind, convenience of outside work schedules, participation in non-voice related activities, etc. are not considered appropriate reasons to be excused from lesson preparation, lesson attendance, participation in vocal ensembles, or attendance at voice area recitals.

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

Individual Instruction - MUSA 1195 - CATES - Spring 2018 Page 5 of 16

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 LISTSIndividual Instruction - MUSA 1195 - CATES - Spring 2018 Page 6 of 16

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

Individual Instruction - MUSA 1195 - CATES - Spring 2018 Page 7 of 16

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

Individual Instruction - MUSA 1195 - CATES - Spring 2018 Page 8 of 16

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

Individual Instruction - MUSA 1195 - CATES - Spring 2018 Page 9 of 16

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

Individual Instruction - MUSA 1195 - CATES - Spring 2018 Page 10 of 16

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

Individual Instruction - MUSA 1195 - CATES - Spring 2018 Page 11 of 16

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

Individual Instruction - MUSA 1195 - CATES - Spring 2018 Page 12 of 16

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

Individual Instruction - MUSA 1195 - CATES - Spring 2018 Page 13 of 16

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

Individual Instruction - MUSA 1195 - CATES - Spring 2018 Page 14 of 16

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 Syllabus1/29/2018 Jacque Hale

Jessica BaylonSusie Smith

2/5/2018 Samantha DavalosSelena Diaz

Tiffany Davis2/12/2018 NATS Practice2/19/2018 Isacc Hernandez

Carlos BarrazasToni Torres

2/26/2018 Julian MonroyGeorge Munoz

Alejandra Sandoval3/5/2018 Elida Morales

Rebecca GonzalezShelby Estala

3/12/2018 SPRING BREAK3/19/2018 Samantha Davalos

Selena DiazTiffany Davis

3/26/2018 Jacque HaleJessica Baylon

Susie Smith4/2/2018 Edward Rodriguez

Ivan LopezWesley Weikel

4/9/2018 Isacc HernandezCarlos Barrazas

Toni Torres4/16/2018 Julian Monroy

George MunozAlejandra Sandoval

4/23/2018 Elida MoralesRebecca Gonzalez

Shelby Estala4/30/2018 Edward Rodriguez

Ivan LopezWesley Weikel

Individual Instruction - MUSA 1195 - CATES - Spring 2018 Page 15 of 16

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, 20181pm-3pm

April 14, 20187:30pm-8:30pm

Fox Fine Arts Recital Hall

Individual Instruction - MUSA 1195 - CATES - Spring 2018 Page 16 of 16