MUU 299 Music Education Lab

Transcription

1 KUTZTOWN UNIVERSITY KUTZTOWN, PENNSYLVANIA Department of Music College of Visual and Performing Arts MUU 299 Music Education Lab Approved by Department: October 7, 2008 I. Course Description: This is a workshop course for music teacher candidates which provides learning experiences in individual topics including guitar, musical theatre, and jazz improvisation which meet standards required for teacher certification. No Prerequisites 1 clock hour minimum 1 semester hour II. Course Rationale: The BS Music Education program at Kutztown University is accredited by the Pennsylvania Department of Education, the National Association of Schools of Music, and the National Council for Accreditation of Teacher Education. Kutztown University is expected by these accrediting bodies to meet all standards in providing required learning experiences which prepare teacher candidates to succeed in the music classroom. Some standards are not extensive enough to require an entire course, nor can be embedded within the content of another dissimilar course. This workshop will present candidates with standards-based learning experiences in individual topics which meet accreditation needs. III. Course Objectives: Upon completion of this course the student will be able to: 1. Demonstrate guitar proficiency in playing select scales. 2. Demonstrate proficiency in playing select chords in first position. 3. Demonstrate ability to play select chord progressions. 4. Demonstrate ability to sing and play with a variety of strum patterns a selection of standard songs. 1. Select grade-appropriate musicals from a leasing agency. 2. Organize and conduct auditions. 3. Select and manage a production staff.

2 4. Stage the musical and direct rehearsals. 5. Design basic show choreography. 6. Demonstrate understanding of all production aspects. 7. Conduct final rehearsals and performances. 1. Demonstrate familiarity with jazz pedagogy methodologies and resources. 2. Demonstrate effective rehearsal skills for both large and small ensembles. 3. Identify a characteristic sound for the style on the various instruments. 4. Demonstrate an understanding of the rhythmic element of the style. 5. Teach authentic jazz performance skills aurally by modeling. 6. Demonstrate familiarity with jazz ensemble literature and sources. 7. Teach listening skills as related to recorded performance. IV. Assessment: Assessment of each student s level of accomplishment with reference to the course objectives will be based upon the following: 1. Daily classroom playing of assigned scales, chords, and chord progressions. 2. Demonstration of note reading ability in first position. 3. Singing and playing on the guitar standard songs for classroom use. 1. Written assignments. 2. Preparation of a director s script with staging notes. 3. Preparation of a complete rehearsal schedule. 4. Choreographing a company musical number. 5. Planning a lighting plot. 6. Designing a set. 1. Written assignments covering assigned readings and class discussions. 2. Classroom/field demonstrations of various rehearsal techniques 3. Presentation of appropriate concert materials for various ensemble levels. 4. Performance of an adequate improvisation on blues. 5. Aural identification of various jazz periods. V. Course Outline: 1. Sitting; hand position; notes in first position. Major scales C, G, D, A, E, F, Blues pentatonic scale. 2. Chords in first position C, G, D, A, E, F, B7. 3. Singing and playing; I-V progression; I-IV-V Blues progression. Note reading in first position.

3 4. I-vi-ii-V progression; minor chords Em, Am, Dm. 5. Singing and playing with a variety of strum patterns: Folk, Reggae, ¾, Bass, Rap. 1. Educational and musical benefits from school musicals. Problems associated with presenting school musicals. 2. Selecting a grade-appropriate musical. Leasing agencies. 3. Conducting tryouts. Casting the show. 4. Selecting the production staff. 5. Staging the musical. 6. Planning and directing rehearsals. 7. Designing choreography. 8. Designing the set and lighting plots. 9. Producing the show. 1. Introduction a. History and Trends b. Philosophy c. Key figures in jazz history 2. Styles a. Fundamentals of various style periods b. The rhythm section c. The swung eighth note d. Timber 3. Music Concepts a. Music selection b. Instrumentation c. Phrasal Analysis 4. Rehearsal Techniques a. Identifying problems 1.) Timbre 2.) Range for brass 3.) Voicings 4.) Improvisation 5.) Sonic models b. Balance c. Teaching the various periods in practical terms.

4 VI. Instructional Resources: Leavitt, William. Berklee Basic Guitar: Phase 1. Berklee Music Press, Bowden, Dan. Complete Accompaniment Method for Guitar. Mel Bay Publication, Turner, Jessica Baron. Smartstart Guitar: A Fun Easy Approach to Beginning Guitar for Kids. Hal Leonard, Turner, Jessica Baron. Smartstart Guitar Songbook. Hal Leonard, Turner, Jessica Baron. Smartstart Guitar Ages 12 and up. Hal Leonard, Turner, Jessica Baron, Alexander Marshall, and Cecilia Phillips. Guitarra De Smartstart, Metodo y Cancionero. Hal Leonard, Turner, Jessica Baron. Your Musical Child: Inspiring Kids to Play and Sing for Keeps. Hal Leonard, Turner, Jessica Baron, and Ronny Susan Schiff. Let s Make Music: Song and Activity Book with CD. Hal Leonard, Morris, Bob. Essential Elements for Guitar Book 1. Hal Leonard, Snyder, Jerry. Guitar School Book 1. Alfred Publishing, Schmid, Will, and Greg Koch. Guitar Method Book 1. Hal Leonard, Bay, William. Mastering the Guitar Book 1. Mel Bay Publications, Allensworth, C. The Complete Play Production Hondbook. New York: Harper and Row, Boardman, G. M. American Musical Theatre. New York: Oxford University Press, Corson, R. Stage Makeup, 7 th ed. Englewood Cliffs, NJ: Prentice Hall, Engle, L. Getting the Show On: The Complete Guidebook for Producing a Musical in your Theatre. New York: Macmillan, Franklin, M. A., and J. O. Dixon III. Rehearsal: The Principles and Practice of Acting for the Stage, 6 th ed. Englewood Cliffs, NJ: Prentice Hall, 1983.

5 Green, Stanley. Enclyclopedia of the Musical Theatre. New York: Da Capo Press, Mitchell, L. A Practical Handbook for Producing and Directing the Broadway Music, 3 rd. ed. Fort Dodge, IA: Comedia Publishing, Parker, W. O., and H. K. Smith. Scene Desing and Stage Lighting, 4 th ed. New York: Holt, Rinehart and Winston, Sellman, H. D., and M. Lessley. Essentials of Stage Lighting, 2 nd ed. Englewood Cliffs, NJ: Prentice Hall, Sievers, W. D., H. E. Stiver, and S. Kahan. Directing for the Theatre. Dubuque, IA: Wm. C. Brown, Terry, T. Create your own Stage Sets. Englewood Cliffs, NH: Prentice Hall, Welker, D. Theatrical Direction: The Basic Techniques. Boston: Allyn and Bacon, Kjos, Kevin. Building a Jazz Program. Aebersold, Jamey. How To Play Jazz Play-A-Long Series. Vol 3 and Vol. 54, New Albany, IN: Jamey Aebersold Jazz Inc., 1976 Present. Baker, David. How to Play Bebop Vol. I, Van Nuys, CA: Alfred Publishing Co., Inc, Baker, David. Jazz Improvisation, Van Nuys, CA: Alfred Publishing Co., Inc, Baker, David. Jazz Pedagogy, Chicago: Maher Publications, Basie, Count. Atomic Basie. Coker, Jerry. The Teaching of Jazz, Germany: Advance Music, Coltrane, John. Love Supreme MCA Records, Davis, Miles. Kind of Blue, Columbia CS Gillespie, Luke. ii-v7-i for the Jazz Pianist, New Albany, IN: Jamey Aebersold Jazz Inc., 2001 Houghton, Steve. The Rhythm Section, Van Nuys, CA: Alfred Publishing Co., Inc, Jones, Thad and Mel Lewis. Dedication, Lasrelight Digital (Remastered 1986). Mantooth, Frank. Voicings, Milwaukee: Hal Leonard Corporation, 1986.

6 Porter, Lewis and Michael Ullman. Jazz: From Its Origins to the Present, Englewood Cliffs, NJ, Porter, Lewis. Jazz: A Century of Change. New York: Schirmer Books, Schneider, Maria. Concert in the Garden. Maria Schneider/Artist Share Schneider, Maria. Evanescence. Artist Share 1994/2005.