| Course Description |
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| Course Name |
: |
Accompaniment and Repertoire II |
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| Course Code |
: |
SOP 704 |
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| Course Type |
: |
Optional |
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| Level of Course |
: |
Second Cycle |
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| Year of Study |
: |
1 |
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| Course Semester |
: |
Spring (16 Weeks) |
|
| ECTS |
: |
4 |
|
| Name of Lecturer(s) |
: |
Assoc.Prof. VANİABATCHVAROVA
|
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| Learning Outcomes of the Course |
: |
Develops the ability to feel the partner and sing in coordanation with her, to create character on the stage, and to have a good command of the work.
Shows the ability to concentrate on the stage, use her imagination and observation skills, and to have stage reflex and musical memory.
Acquires musical and technical ability of interpretation on the stage through the works of national and international literatüre
Uses her sound mechanism appropriately and effectively on the stage.
Shows the ability to use the voice and piano in harmony.
Musical development shows with the polyphonic music works in this direction ability to .
|
|
| Mode of Delivery |
: |
Face-to-Face |
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| Prerequisites and Co-Prerequisites |
: |
None |
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| Recommended Optional Programme Components |
: |
None |
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| Aim(s) of Course |
: |
Main Branch of Opera Singing with piano accompaniment in the program this way, the student works on the art of the operation and the provision of technical and musical development. |
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| Course Contents |
: |
Accompaniment of the works studied to in the Singing and Vocal Training II lessons and musically help to the student in the study time .
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| Language of Instruction |
: |
Turkish |
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| Work Place |
: |
Singing Classroom |
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Course Outline /Schedule (Weekly) Planned Learning Activities |
| Week | Subject | Student's Preliminary Work | Learning Activities and Teaching Methods |
|
1 |
Deciphering of two lied with piano accompaniment |
lesson preparation |
Notation |
|
2 |
Work correctly to two lied´s breathing places to with piano accompaniment |
lesson preparation |
Notation |
|
3 |
Working to two lied with nuancess and tempo. |
lesson preparation |
Notation |
|
4 |
Study of recite two lied |
lesson preparation |
Notation |
|
5 |
Deciphering Aria with piano accompaniment |
lesson preparation |
Notation |
|
6 |
The right work to aria with piano accompaniment |
lesson preparation |
Notation |
|
7 |
Working to aria with nuancess and tempo. |
lesson preparation |
Notation |
|
8 |
Study of recite to aria |
lesson preparation |
Notation |
|
9 |
Listen to two lied and aria with singing teacher. |
lesson preparation |
Notation |
|
10 |
Deciphering singing teacher specified aria with piano accompaniment |
lesson preparation |
Notation |
|
11 |
The right work to aria with piano accompaniment |
lesson preparation |
Notation |
|
12 |
Working to aria with nuancess and tempo. |
lesson preparation |
Notation |
|
13 |
Study of recite to aria |
lesson preparation |
Notation |
|
14 |
Identify and repeated exam schedule |
Examination rehearsals |
Notation |
|
15 |
General review |
Examination rehearsals |
Notation |
|
16/17 |
Final examination. |
concert |
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|
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| Contribution of the Course to Key Learning Outcomes |
| # | Key Learning Outcome | Contribution* |
|
1 |
understands the conversion lines based on the past to the future development of the performing arts, and applies them according to the needs of our time. |
0 |
|
2 |
shows the ways that would help them to obtain competency in using Turkish correctly, beautifully and efficiently |
0 |
|
3 |
ensures effective and correct use of the voice mechanism, the coordination of breath and sound ability, and health protection of voice as part of the opera singing training, |
4 |
|
4 |
creates a critical perspective by taking into account the requirements of the era and synthesizes the learned information while investigating all aspects of theatre and opera of national and international literature. |
2 |
|
5 |
knows the methods, theories, history, and uses of the voice and body techniques and their relationship with theories of art, aesthetics, and behavioral psychology. The student understands the art in particular with a level of knowledge that enables them to transfer it into the future. |
0 |
|
6 |
has sufficient knowledge in terms of scene technology, and comprehends the way the artistic and expressive images of the game will be expressed. |
2 |
|
7 |
gains a social and aethetic point of view of theatre-acting and opeara-singing and ensures adequacy of application in performing arts, radio, television and cinema. |
0 |
|
8 |
gains the ability to assess the universal values with his/her acquired knowledge in the field of study. |
0 |
|
9 |
gains the sensitivity of being an artist conscious of the responsibility that falls on him/her personally, nationally, and globally. |
0 |
|
10 |
knows and has the ability to show the ways that help him/her to find the necessary documents, tools, resources, and organize an archive regarding the sources related to performing arts. |
0 |
|
11 |
gains the ability to provide information to different audiences about the area of performing arts within the realm of the art of theatre-acting / opera – singing. |
3 |
|
12 |
gains the ability to individually carry out the process of working on the work(s) he/she is obliged to work on. |
5 |
|
13 |
constantly improves himself as a man of art, and keeps up-to-date about the current art events. |
0 |
|
14 |
shows and uses the ways to use the correct technique of voice and speech sound on stage by singing, solfege and ear training. |
0 |
|
15 |
has a sense of social responsibility, social competence, and communication skills required by Performing arts. |
0 |
|
16 |
gains professional ethics and professional discipline of art along with attributes, and awareness of being a professional performing artist in theatre-acting/opera-singing. |
3 |
|
17 |
continuously improves himself as a man of art, relates the knowledge and skills of professional ethics to other art fields, and establishes ties between them. |
4 |
|
18 |
shows the ways to bring the character’s thoughts and feelings into existence on the stage through techniques and methods of performing arts. |
0 |
|
19 |
gains the ability to use his/her natural mechanism as an instrument on the stage by improving his skills of coordination, and knowing his/her body, emotions and thoughts. |
4 |
| * Contribution levels are between 0 (not) and 5 (maximum). |
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