Course Description |
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Course Name |
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Phonetic |
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Course Code |
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YMOP009 |
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Course Type |
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Optional |
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Level of Course |
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First Cycle |
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Year of Study |
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1 |
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Course Semester |
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Fall and Spring (32 Weeks) |
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ECTS |
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3 |
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Name of Lecturer(s) |
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Instructor İSMAİL DİKİLİTAŞ |
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Learning Outcomes of the Course |
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Knows how to use the speech organs functionally. Knows and applies the techniques about the correct use of voice. Uses sound-breath coordination functionally. Knows and applies breathing techniques Knows and applies breath control techniques. Knows and applies the basic concepts of phonetics. Knows and applies the correct articulation places of vocals and consonants. Knows and applies the rules of stress, intonation, pause,liaison.
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Mode of Delivery |
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Face-to-Face |
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Prerequisites and Co-Prerequisites |
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None |
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Recommended Optional Programme Components |
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None |
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Aim(s) of Course |
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Studying the right and good use of all sounds in terms of phonetics, the techniques about using the voice accurately and effectively, breathing techniques, the ability of sound-breath coordination, stress, intonation, pause and liaison rules. |
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Course Contents |
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Prep students are required to learn vowels and consonants in the first place. During this training period, speech deficiencies are corrected as much as possible. (Students are taught some mute sounds and how to use their speech organ efficiently.) Besides, basic phrases are also the main components in training students. |
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Language of Instruction |
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Turkish |
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Work Place |
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Studio |
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Course Outline /Schedule (Weekly) Planned Learning Activities |
| Week | Subject | Student's Preliminary Work | Learning Activities and Teaching Methods |
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1 |
Meeting students and course description. |
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Special Support / Structural Examples |
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2 |
Introduction of the breath and voice devices. |
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Special Support / Structural Examples |
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3 |
Practical studies on breath and audio devices. |
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Special Support / Structural Examples |
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4 |
Practical studies on breath and audio devices. |
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Special Support / Structural Examples |
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5 |
Breath and on the study and application of audio devices. |
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Special Support / Structural Examples |
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6 |
Defining and practicing vocals. |
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Special Support / Structural Examples |
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7 |
Defining and practicing vocals. |
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Special Support / Structural Examples |
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8 |
Defining and practicing vocals. |
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Special Support / Structural Examples |
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9 |
Defining and practicing vocals. |
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Special Support / Structural Examples |
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10 |
Defining and practicing consanants. |
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Special Support / Structural Examples |
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11 |
Defining and practicing consanants. |
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Special Support / Structural Examples |
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12 |
Defining and practicing consanants. |
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Special Support / Structural Examples |
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13 |
Defining and practicing consanants. |
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Special Support / Structural Examples |
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14 |
Mid-term exam. |
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15 |
Semester analysis and general revision. |
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Special Support / Structural Examples |
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16 |
Semester analysis and general revision. |
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Special Support / Structural Examples |
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17 |
Introduction to Speech. |
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Special Support / Structural Examples |
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18 |
Study and practice on the syllable stress. |
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Special Support / Structural Examples |
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19 |
Study and practice on the syllable stress. |
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Special Support / Structural Examples |
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20 |
Study and practice on intonation. |
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Special Support / Structural Examples |
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21 |
Study and practice on intonation. |
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Special Support / Structural Examples |
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22 |
Study and practice on intonation. |
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Special Support / Structural Examples |
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23 |
Study and practice on intonation. |
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Special Support / Structural Examples |
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24 |
Semester analysis and general revision. |
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Special Support / Structural Examples |
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25 |
Semester analysis and general revision. |
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Special Support / Structural Examples |
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26 |
Introduction to Speech practices. Work on Poetry-Based Surveying. |
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Special Support / Structural Examples |
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27 |
Work on Poetry-Based Surveying. |
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Special Support / Structural Examples |
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28 |
Work on Poetry-Based Surveying. |
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Special Support / Structural Examples |
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29 |
Work on Poetry-Based Surveying. |
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Special Support / Structural Examples |
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30 |
Mid-term exam. |
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31 |
Final exam preparation and general rehearsals. |
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|
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32/33/34 |
Final exam |
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| Contribution of the Course to Key Learning Outcomes |
| # | Key Learning Outcome | Contribution* |
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1 |
Gains the ability to review advanced knowledge and skills acquired in the field critically |
3 |
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2 |
As a performing artist, has a sense of ethics of art and professional disipline. |
3 |
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3 |
Gains the musical and technical ability to interpret national and international works of literature on the stage through Opera singing techniques and methods. |
2 |
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4 |
Gains the ability to use voice mechanism accurately and efficiently on the stage, to ensure breath coordination and to protect voice health. |
5 |
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5 |
Gains the ability to review universal values with the knowledge acquired in their field of study. |
3 |
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6 |
Gains the sensitivity of being an artist who is aware of the responsibilities towards his nation, himself and humanity. |
4 |
|
7 |
Besides singing technique, controls his body successfully thanks to the abilities acquired through dance, stage and fencing disciplines. |
3 |
|
8 |
Improves the practical ability of singing ability which is developed through acquiring technical knowledge together with the acting ability on the stage. |
4 |
|
9 |
Gains the ability to provide all kinds of national and international singing literature documents, equipments, resources and archive related to his field. |
2 |
|
10 |
Gains the ability to individually maintain the process of practicing on works which he is responsible for. |
2 |
|
11 |
Constantly improves himself as a man of art, and follows the current activities related to his art closely. |
3 |
|
12 |
Gains the ability to use his natural mechanism on the stage as an instrument by improving his coordination abilities and by recognizing and analyzing his own body, emotions, and thoughts. |
5 |
|
13 |
As well as having a sense of social responsibility, owns communication and social skills requried by performing arts. |
4 |
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14 |
Gains the ability to transfer his knowledge on the art of opera singing to different audiences. |
3 |
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15 |
Has the ability of focusing on the scene, using his imagination and observation skills, the ability to have a reflex and to use the memory of the musical scene. |
3 |
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16 |
Develops the ability of creating a character on the stage, maintaining mastery of work, singing with a partner and feeling the partner. |
3 |
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17 |
As a man of art, tries to establish ties with other art fields by associating his knowledge and skills according to the rules of professional ethics. |
4 |
| * Contribution levels are between 0 (not) and 5 (maximum). |
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