WESTERN MICHIGAN UNIVERSITY School of Music

MUS 3310 INSTRUMENTAL CONDUCTING/LITERATURE

Spring 2015 Course Syllabus MWF 9:00-9:50am

Instructor: Office Hours: Dr. Scott Boerma By Appointment Office: 1428 Dalton Center E-mail: scott.boerma@wmich.edu Office: (269) 387-4703 Course Objectives: To develop habits and behaviors exhibited by successful instrumental conductors/educators. Activities will include active ensemble conducting, body-awareness and basic movement exercises, score preparation, literature research, critical listening projects, rehearsal observations, concert programming, rehearsal preparation, and readings discussions. Student Goals:

1. Master body language that responds to the musics expectations and invites the ensemble members to participate.

2. Inspire ensemble members with a physical representation of what is to be heard, beyond what is obvious in the written notation. Compel rather than navigate.

3. Increase the availability of your body to respond to your desired musical intent. 4. Raise your ability to listen and physically respond while conducting. 5. Master variables of expression (time/speed, space, and weight). 6. Achieve a heightened awareness of your body. 7. Develop a defined aural image and learn to express in specific terms how the sounds being

produced differ from your aural image. 8. Learn to portray aural images, listen to the resulting sounds, and gesturally respond by

confirming or modifying the sounds produced. 9. Improve your critical listening and technical conducting skills.

Required Materials: Texts: Hunsberger and Ernst. The Art of Conducting. Second Edition. New York, McGraw-Hill,

1992. Stotter. Methods and Materials for Conducting. Chicago, GIA Publications, Inc., 2006. Spradling. Error Detection: Exercises for the Instrumental Conductor. Students Edition.

New York, Carl Fischer, 2010. Other: A baton (12 to 15 inch), SDHC 8 GB memory card for video recording on digital video camera.

Course Requirements:

1. Class Participation/Attendance: a. Be prepared to actively discuss reading assignments and conduct assigned musical

excerpts at each class meeting. Specific reading assignments and conducting unit descriptions can be found in this syllabus, directly following the tentative calendar.

b. Have instruments (as appropriate) in each class for ensemble participation. While some excerpts will require transposition for some instruments, it is your responsibility to be prepared to play these at a high level for your conducting peers.

c. Attendance is expected at every class meeting. It is understood that severe illness, personal emergencies, and Acts of God do occur, and for this reason the first two absences will not count against you. After the second absence, your grade will be reduced by one level per absence from your final grade. (For example, a B/A will be lowered to a B.) Two tardies will equal one absence. Tardies will be defined as entering the room after class has begun. Anyone entering after 9:15am will be designated absent. Conducting assignments missed due to absence will not be made up. If you are absent on the day of a conducting exam, it will not be possible to make up the exam. Exceptions are made only with documentation from a medical doctor or a university official.

d. All written assignments can be submitted 1) as email attachments (preferably Word), 2) as hard copies, or 3) on E-learning according to the course calendar unless indicated differently by the instructor. When written work is submitted via hard copy, it is due at the beginning of class and will not be accepted after 9:15am.

2. Self Observations: You will receive significant podium time to conduct throughout the course. It will be your responsibility to video your conducting experiences on each occasion, so bring your SDHC card to every class. (Video recorder will be provided.) It is then essential that you spend time reviewing your conducting footage and critiquing yourself. Therefore, you will be required to fill out and turn in a self-critique form for each conducting unit (total of 4). (You will not be required to turn in a critique of your error-detection experiences, but you will be expected to view and critique them on your own.) Due dates are noted on the calendar in this syllabus.

3. Conductor Observations: You must observe rehearsals by three professional conductors. Each

observation must last approximately one hour. You may choose to observe a conductor from WMU or a public school teacher. If you would like to observe a conductor not in these categories, you must get permission from Dr. Boerma. It is a professional courtesy to inform the conductor of your intent to observe ahead of time. A form will be provided to you to fill out for each observation. Detailed observation guidelines/suggestions are also provided under Conductor Rehearsal Observations later in this syllabus. Due dates are noted on the calendar in this syllabus.

4. Literature/Listening: Using the resource Teaching Music Through Performance in Band or

Orchestra (multiple volumes), select four (4) works from each grade level (1-6) by composers you determine to be outstanding. (24 total works.) Listen to each work and write (in your own words, of course) approximately one page for each piece, describing its instrumentation, overall form, musical challenges, special needs or demands, and areas in which you would expect to concentrate in order to prepare the work for a performance. Also provide reactions to the expressive nature of the work as experienced through your listening. Remember that grade

levels are established to be a guide for ensembles of varying age and experience. Recordings that accompany the series along with, in some cases, scores of the selected literature are in the Music Library or Conductors Resource Center.

5. Programming: Using "your class C high school band/orchestra" as the model and all

available resources, program a concert to be presented at the end of the fall semester. The concert should include approximately 30 minutes of music, and each piece should fit your ensemble's strengths and weaknesses. (You will create this ensemble in your imagination, choosing its strengths and weaknesses and describing them in your project.) The literature selected should be reasonably challenging yet attainable for this time of the year. Your band/orchestra meets five days per week for 50 minutes per day. This project will include:

a. rationale for your literature selections b. general analysis and a description of ensemble suitability for each selection c. eight-week rehearsal plan for all selections

d. a detailed rehearsal plan for day 3 in week 5.

6. Final Project: Make arrangements with a band/orchestra librarian to select one score of significant literature from the appropriate library to prepare in detail and rehearse with the Concert Band, Symphonic Band, or Symphony Orchestra. Clear your selection with Dr. Boerma. Do a four-part analysis of your chosen work, based upon class discussions and handouts. Prepare a rehearsal plan that demonstrates your efficient use of allotted rehearsal minutes. You will provide a copy of your plan to the instructor prior to your conducting experience. As with all preceding conducting experiences, be sure to bring your SDHC card to video your performance. Following your rehearsal, complete a self-critique form evaluating your rehearsal and discuss the results with Dr. Boerma prior to our designated exam time the following week.

Grading Percentages:

Weekly Conducting/Preparation and Class Participation 30% Final Project 25% Programming Project 20% Literature/Listening Assignments 15% Self Observations/Critiques 5% Conductor Observations 5%

Rubric for Written Assignment Grades:

Grade of A: Work is complete, represents a thorough, cogent, and well-developed presentation of ideas, and is extremely neat and professional; shows exceptional effort, contains very few or no errors, and would serve as a model for others.

Grade of B: Work is complete and is neat and professional, but lacks a thorough, cogent, and well-developed presentation of ideas or contains frequent errors. Work shows good effort, but would not be the best model for others.

Grade of C: Work is somewhat complete but is somewhat sloppy and contains numerous errors. Work represents an average presentation of ideas or weak effort.

Grade of D: Work is fairly incomplete, is sloppy or unprofessional, and contains numerous errors. Work represents a superficial presentation of ideas and weak effort.

Grade of E: Work is very incomplete, late, or not submitted at all. Work is excessively sloppy or unprofessional and represents a lack of thought and little or no effort.

Grading Scale: A = 93-100 C = 73-77 B/A = 88-92 D/C = 68-72 B = 83-87 D = 60-67 C/B = 78-82 E = 59 and below

Conducting Grades: Grading a conducting student is a highly subjective process. As a student, you must have faith in the ability and experience of your instructor to make subjective judgments about your performance as a conductor. Conducting, the physical part of it, comes very easily to some people and is more difficult for others. The ability to effectively communicate non-verbally, lead, and rehearse an ensemble comes easily to very few students. An experienced teacher finds it rather easy to discern which students are really working in the course (that is, practicing and preparing) and which students are coasting. A word to the wise should suffice. Accommodation for disabilities Students with a documented disability (e.g., physical, learning, psychiatric, vision, hearing, etc.) who need to arrange reasonable accommodations must contact Disability Services for Students located at Woodlawn Place at the beginning of the semester. A disability determination must be made by this office before any accommodations are provided by the instructor. For more information, contact DSS (269) 387-2116.

Student academic conduct You are responsible for making yourself aware of and understanding the University policies and procedures that pertain to Academic Honesty. These policies include cheating, fabrication, falsification and forgery, multiple submission, plagiarism, complicity and computer misuse. (The academic policies addressing Student Rights and Responsibilities can be found in the Undergraduate Catalog at http://catalog.wmich.edu/content.php?catoid=22&navoid=882 and the Graduate Catalog at http://catalog.wmich.edu/content.php?catoid=23&navoid=938.) If there is reason to believe you have been involved in academic dishonesty, you will be referred to the Office of Student Conduct. You will be given the opportunity to review the charge(s) and if you believe you are not responsible, you will have the opportunity for a hearing. You should consult with your instructor if you are uncertain about an issue of academic honesty prior to the submission of an assignment or test.

Tentative Calendar for MUS 3310, Spring 2015 Week of: Monday Wednesday Friday January 12 Syllabus /Discussion Reading assn. #1 due Jan. 14

Reading Discussion, Exercises, Units 1 & 2 Prep

Conducting Units 1 & 2 (Have your instruments)

January 19 NO CLASS

(Martin Luther King Day) Conducting Units 1 & 2

Reading assn. #2 due Jan. 30 NO CLASS

(MMC - Grand Rapids) January 26 Conducting Units 1 & 2 Conducting Units 1 & 2 Lecture/Discussion Error Detection Prep February 2 Error Detection 1

Units 1-2 Self-Critique due Error Detection 1 Error Detection 1

Reading assn. #3 due Feb. 11 February 9 Error Detection 1 Lecture/Discussion Conducting Units 3 & 4

February 16 Conducting Units 3 & 4 Observation #1 due

Conducting Units 3 & 4 Final Project Selection due Reading assn. #4 due Feb. 23

Conducting Units 3 & 4

February 23 Lecture/Discussion

Error Detection 2 Stage One Analysis due Units 3-4 Self-Critique due

Error Detection 2

March 2 Error Detection 2 Reading assn. #5 due Mar. 16

Error Detection 2

NO CLASS (Spirit Day)

March 9 SPRING BREAK SPRING BREAK SPRING BREAK

March 16 Lecture/Discussion Conducting Units 5 & 6 Observation #2 due

Conducting Units 5 & 6 Reading assn. #6 due Mar. 25 (prepare Stage Two by then)

March 23 Conducting Units 5 & 6

Lecture/Discussion Stage Two Analysis due

Conducting Units 5 & 6

March 30 Error Detection 3

Reading assn. #7 due Apr. 6 Units 5-6 Self-Critique due

Error Detection 3

Error Detection 3 Reading assn. #8 due Apr. 8

Lit./List. Compilation due April 6 Error Detection 3

Observation #3 due Lecture/Discussion

Conducting Units 7 & 8

Stages 3 & 4 Analyses due April 13 Conducting Units 7 & 8 NO CLASS

(Symphonic Band Tour) Conducting Units 7 & 8 *FINAL PROJECTS

April 20 Conducting Units 7 & 8

*FINAL PROJECTS Catch-Up, Discussion, etc. Programming Assn. due

*FINAL PROJECTS

Catch-Up, Discussion, etc. Units 7-8 Self-Critique due

*FINAL PROJECTS

*FINAL PROJECTS will be performed with the Concert/Symphonic Bands and Symphony Orchestra during those ensembles regularly scheduled rehearsals. Be prepared to be at your assigned rehearsal times.

READING ASSIGNMENTS (Note: In Hunsberger/Ernst readings, ignore Assignment at end of each chapter) ASSIGNMENT #1:

Stotter: Unit 1: On the Podium (pp. 3-11) Unit 2: Conducting in Three, Four, Two, and One (pp. 13-21) Unit 3: Pick-Ups, Releases, and Fermatas (pp.23-32) Unit 8: From Score to Podium (pp. 59-62)

ASSIGNMENT #2: Stotter: Unit 6: Use of the Left Hand (pp. 47-50) (No excerpts for this unit)

ASSIGNMENT #3:

Huns./Ernst: Chapter 7 (pp. 94-103) AND Stotter: Unit 7: Changing Dynamics and Tempo (pp. 53-56)

ASSIGNMENT #4:

Analysis Project Handout: Intro and Stage One (pp. 1-3) ASSIGNMENT #5:

H/E: Chapter 8 (pp. 104-110) Chapter 9 (pp. 111-117)

AND Stotter: Unit 4: Divided and Changing Meters (pp. 33-40) ASSIGNMENT #6:

Analysis Project Handout: Stage Two (pp. 3-4) ASSIGNMENT #7:

Stotter: Unit 5: Asymmetrical Meters (pp. 43-45) H/E: Chapter 10 (pp. 118-125) (No excerpts for this chapter.)

Chapter 12 (pp. 134-143)

ASSIGNMENT #8: Analysis Project Handout: Stage Three & Four (pp. 4-8)

CONDUCTING UNIT DESCRIPTIONS For each unit, prepare all excerpts. Dr. Boerma will choose one from each unit for you to conduct during your assigned rehearsal. UNIT 1:

Stotter Unit 2: Conducting in Three, Four, Two, and One Three: Chance: Variations on a Korean Folk Song (pp. 86-87)

Rossini: The Italian in Algiers Overture (pp. 184-185) Four: Grainger: Irish Tune from County Derry (pp. 98-99) OR Holst: Song Without Words: Ill Love My Love (2nd Suite in F) (pp. 150-152) Strauss: Serenade, Op. 7 (p. 189) Two: Holst: March, from 2nd Suite in F (pp. 136-149) (Discuss diff. between 2/4 & 6/8)

Susato: Ronde Mon Amy (pp. 192-193) One: Grainger: The Lost Lady Found (Lincolnshire Posy) (pp. 100-101) Vaughan Williams: Green Bushes (English Folk Song Suite) (pp. 210-211) UNIT 2:

Stotter Unit 3: Pick-Ups, Releases, and Fermatas Bach: Du Lebensfurst, Herr Jesu Christ (p. 69) Bach: Wachet auf, ruft uns die Stimme (pp. 70-71) Wagner: Rienzi, Overture (p. 214) Beethoven: Symphony No. 5, 1st mvt. (handout) Borodin: Symphony No. 2, 1st mvt. (handout)

UNIT 3: Hunsberger/Ernst Chapter 7: Excerpt 7-2: Rossini: LItaliana in Algeri, Overture (pp. 254-256) Excerpt 7-10: Haydn: Symphony No. 104, 1st mvt. (pp. 279-281) Stotter Unit 7: Changing Dynamics and Tempo

Mozart: Romanze (Serenade K. 361/370a) (p. 175) UNIT 4: Stotter Unit 4: Divided Meters Grainger: The Sussex Mummers Christmas Carol (pp. 104-105) Vaughan Williams: Rhosymedre (pp. 195-197) Bach: Prelude in G Minor (handout) Burns: The Banks O Doon (p. 85) Bizet: Symphony No. 1, 2nd mvt. (handout) UNIT 5: Stotter Unit 4: Changing Meters Grainger: Horkstow Grange (pp. 94-95) Holst: The Song of the Blacksmith (2nd Suite in F) (pp. 153-157) Hunsberger/Ernst Chapter 8:

Excerpt 8-2: Mussorgsky: Pictures at an Exhibition, Promenade (pp. 292-294) Hunsberger/Ernst Chapter 9:

Excerpt 9-6: Bernstein: Candide, Overture

UNIT 6: Hunsberger/Ernst Chapter 9: Sustaining Gestures, Pattern Modification, and Supermetric Patterns

Excerpt 9-5: Holst: The Planets, Mars (pp.326-329) Stotter Unit 4: Williams: Symphonic Dance No. 3 Fiesta (pp. 218-220) UNIT 7: Stotter Unit 5: (Changing &) Asymmetrical Meters Makris: Aegean Festival Overture (pp. 172-174) Reed: Armenian Dances (pp. 179-181) Grainger: Rufford Park Poachers (Lincolnshire Posy) (pp. 102-103) Chavez: Sinfonia India (Symphony No. 2) (pp. 88-89) UNIT 8: Hunsberger/Ernst Chapter 12: Contemporary Notation Excerpt 12-1: Hunsberger: Etude (pp. 360-362) Excerpt 12-2: Grainger: Lincolnshire Posy, Lord Melbourne (p. 363) ERROR DETECTION UNIT DESCRIPTIONS ERROR DETECTION 1: Spradling Section 1: Introductory Exercises ERROR DETECTION 2: Spradling Section 1: Introductory Exercises ERROR DETECTION 3:

Spradling Section 2: Intermediate Exercises

CONDUCTOR REHEARSAL OBSERVATIONS Suggestions for things to consider, observe, and comment upon: Technique: Posture Effective use of elbow, wrist, hand, baton Clarity of patterns Clarity of ictus Use of vertical and horizontal planes

Musicianship: Did the conductor use appropriate styles? How did he/she achieve the styles? Did the conductor use gestures to show the sounds or stop and describe with words? How did the conductor use his/her gestures to affect the sound? Were dynamics appropriately shown? Were there changes in tempo? If so, how did the conductor achieve these changes? Were they

smooth and seamless or labored? Did the conductor give good/appropriate cues? Did the conductor use the left hand independently and/or effectively? Did the conductor use good facial expressions?

Rehearsal: Was this an effective rehearsal? Were goals established and worked toward/met? Was the conductor prepared, and did he/she demonstrate a thorough knowledge of the score? Was this a well-paced rehearsal? Did the conductor use any tricks or teaching/conducting strategies you thought were effective? Did the ensemble improve? Was the music appropriate for the ensemble?

Leadership and Professionalism Good and appropriate eye contact Confidence Does the conductor provide an atmosphere that fosters musical creativity and supports growth

and expression? Rapport with the ensemble

Summary What did you learn from this observation?