| Course Description |
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| Course Name |
: |
Movement |
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| Course Code |
: |
YMOP 123 |
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| Course Type |
: |
Optional |
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| Level of Course |
: |
First Cycle |
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| Year of Study |
: |
2 |
|
| Course Semester |
: |
Fall and Spring (32 Weeks) |
|
| ECTS |
: |
4 |
|
| Name of Lecturer(s) |
: |
Instructor LİLİA KOSTOVA PANAYOTOVAPETROVA
Instructor SEDAAYVAZOĞLU
|
|
| Learning Outcomes of the Course |
: |
Understands and applies the attitudes and rituals of the period according to hierarchical ranking and classification by doing exercises with the accompaniment of music.
Understands and applies men and women greetings of the periods with the accompaniment of music according to hierarchical ranking and classification
Understands and applies rituals of different religions with the accompaniment of music according to hierarchical ranking.
Understands and applies the use of body aesthetics by working on complex figures.
Understands and applies the techniques about the use of body plastic by working on complex figures.
Understands and applies the accessories of the period with the accompaniment of music types of that period.
Knows table manners of the periods according to hierarchical ranking and classification; understands and applies them with the accompaniment of music.
Expresses the attitudes and behaviors of the characters according to periodical charasteristics.
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| Mode of Delivery |
: |
Face-to-Face |
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| Prerequisites and Co-Prerequisites |
: |
YMOP019 Movement
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| Recommended Optional Programme Components |
: |
None |
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| Aim(s) of Course |
: |
Providing the development of the student´s own physical material according to the professional principles. Application of European attitudes and rituals from 16th century to the present day according to hierarchical ranking and classification. Improving the use of body aesthetics, the plastic and body coordination. Acquiring the basic choreography elements and developing the ability to move collectively. |
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| Course Contents |
: |
Studying the basic choreography after developing student’s body flexibility and aesthetics, and body coordination. |
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| Language of Instruction |
: |
Turkish |
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| Work Place |
: |
Classroom |
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Course Outline /Schedule (Weekly) Planned Learning Activities |
| Week | Subject | Student's Preliminary Work | Learning Activities and Teaching Methods |
|
1 |
The introduction of an annual lesson plan |
|
Case Study / Case |
|
2 |
Performing body exercises to gain scene aesthetics. |
|
Case Study / Case |
|
3 |
Studying 19th century men and women greetings. |
|
Case Study / Case |
|
4 |
Performing body exercises about 19th century walking and sitting manners. |
|
Case Study / Case |
|
5 |
Performing body exercises about how men and women hold hands, and their attitudes in 19th-20th centuries. |
|
Case Study / Case |
|
6 |
Studying how men and women walk, sit and stand up together in19th -20th centuries. |
|
Case Study / Case |
|
7 |
Overall evaluation |
|
Case Study / Case |
|
8 |
Practical exercises on the use of fans and sticks while men and women are sitting,walking and standing up individually or as couples in 19th-20th centuries. |
|
Case Study / Case |
|
9 |
Practical exercises on cloak holding in 19th -20th centuries. |
|
Case Study / Case |
|
10 |
Practical exercises on the use of fan in Carmen Opera |
|
Case Study / Case |
|
11 |
Practical exercises on the use of cloaks in Carmen Opera |
|
Case Study / Case |
|
12 |
19th -20. century to decline and individual exercises accessories |
|
Case Study / Case |
|
13 |
Individual exercises about falling down and standing up with accessories in 19th -20th centuries. |
|
Case Study / Case |
|
14 |
Overall evaluation |
|
Case Study / Case |
|
15 |
Warm-up and Coordination.Entrance to Polonaise |
|
Case Study / Case |
|
16 |
Warm-up and Coordination. Figure study on the first and second working Polonaise. |
|
Case Study / Case |
|
17 |
Warm-up and Coordination. Work on the study of the third and fourth figure Polonaise |
|
Case Study / Case |
|
18 |
Warm-up and Coordination. Polonaise figure study work on the fifth and sixth |
|
Case Study / Case |
|
19 |
Warm-up and Coordination. Polonaise work on the seventh, eighth figure, study |
|
Case Study / Case |
|
20 |
Warm-up and Coordination. Menuet and the first figure study |
|
Case Study / Case |
|
21 |
Warm-up and Coordination. Menuet work on the study of the second and third figures |
|
Case Study / Case |
|
22 |
Warm-up and Coordination. Polka study and the first figure |
|
Case Study / Case |
|
23 |
Warm-up and Coordination. Polka work on the study of the second and third figures |
|
Case Study / Case |
|
24 |
Warm-up and Coordination. Polka work on the fourth, fifth and sixth figure study |
|
Case Study / Case |
|
25 |
Warm-up and Coordination. Mazurka and the first figure study |
|
Case Study / Case |
|
26 |
Warm-up and Coordination. Mazurka work on the study of the second and third figures |
|
Case Study / Case |
|
27 |
Warm-up and Coordination. Mazurka survey work on the fourth and fifth figures |
|
Case Study / Case |
|
28 |
Warm-up and Coordination. Work on the study of the sixth figure Mazurka |
|
Case Study / Case |
|
29 |
Warm-up and Coordination. Work on the study of the seventh figure Mazurka |
|
Case Study / Case |
|
30 |
General evaluation and detection of deficiencies |
|
|
|
31 |
Preparation for the final exam |
|
|
|
32/33/34 |
Final exam |
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|
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| Contribution of the Course to Key Learning Outcomes |
| # | Key Learning Outcome | Contribution* |
|
1 |
Gains the ability to review advanced knowledge and skills acquired in the field critically |
0 |
|
2 |
As a performing artist, has a sense of ethics of art and professional disipline. |
5 |
|
3 |
Gains the musical and technical ability to interpret national and international works of literature on the stage through Opera singing techniques and methods. |
0 |
|
4 |
Gains the ability to use voice mechanism accurately and efficiently on the stage, to ensure breath coordination and to protect voice health. |
4 |
|
5 |
Gains the ability to review universal values with the knowledge acquired in their field of study. |
1 |
|
6 |
Gains the sensitivity of being an artist who is aware of the responsibilities towards his nation, himself and humanity. |
5 |
|
7 |
Besides singing technique, controls his body successfully thanks to the abilities acquired through dance, stage and fencing disciplines. |
5 |
|
8 |
Improves the practical ability of singing ability which is developed through acquiring technical knowledge together with the acting ability on the stage. |
5 |
|
9 |
Gains the ability to provide all kinds of national and international singing literature documents, equipments, resources and archive related to his field. |
1 |
|
10 |
Gains the ability to individually maintain the process of practicing on works which he is responsible for. |
5 |
|
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. |
5 |
|
14 |
Gains the ability to transfer his knowledge on the art of opera singing to different audiences. |
0 |
|
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. |
5 |
|
16 |
Develops the ability of creating a character on the stage, maintaining mastery of work, singing with a partner and feeling the partner. |
5 |
|
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. |
3 |
| * Contribution levels are between 0 (not) and 5 (maximum). |
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