| Course Description |
|
| Course Name |
: |
Korrepetition |
|
| Course Code |
: |
YMOP211 |
|
| Course Type |
: |
Compulsory |
|
| Level of Course |
: |
First Cycle |
|
| Year of Study |
: |
3 |
|
| Course Semester |
: |
Fall and Spring (32 Weeks) |
|
| ECTS |
: |
4 |
|
| Name of Lecturer(s) |
: |
Assoc.Prof. VANİABATCHVAROVA
Instructor BAHAR NARTÜRK PEKDURAN
Asst.Prof.Dr. ULVİYEGÜLER
Instructor SİNEMÖNAL YÜKSEK
Instructor GİZEMGÜLER
Instructor DİDEMÖNAL
|
|
| Learning Outcomes of the Course |
: |
Improves the ability to have a character on the stage, singing together, feeling the partner.
Gains skills about focusing on the scene, using imagination ,observation skills,having stage reflex and using musical memory.
Has a sense of ethics and discipline required in Opera Singing.
Gains musical and technical ability to interpret works of art which belong to national and international singing literature through Opera Singing techniques and methods.
Gains the ability of breathing coordination , protecting voice health, the correct and efficient use of the mechanism of his voice on the stage thanks to Opera Singing training.
Develops intonation ability through a combination of voice and piano harmony.
Improves his/her musical ability through polyphonic music studies.
Accompanying singing with the piano increases student’s interest in the course and thus helps his/her progress.
|
|
| Mode of Delivery |
: |
Face-to-Face |
|
| Prerequisites and Co-Prerequisites |
: |
None |
|
| Recommended Optional Programme Components |
: |
None |
|
| Aim(s) of Course |
: |
The aim of the course is to ensure students’ technical and musical development related to their art by studying work of arts with piano accompaniment which is part of Opera Singing Department Program. |
|
| Course Contents |
: |
Having students study regularly in order to understand works of art which are played with piano accompaniment in different forms and belonging to different periods better and also to help them improve the ability of achieving mastery of work. |
|
| Language of Instruction |
: |
Turkish |
|
| Work Place |
: |
Studio classroom |
|
|
Course Outline /Schedule (Weekly) Planned Learning Activities |
| Week | Subject | Student's Preliminary Work | Learning Activities and Teaching Methods |
|
1 |
Desciphering the first lied that is given by the lecturer with accompaniment. |
Individual study |
Presentation |
|
2 |
Desciphering the second lied that is given by the lecturer with accompaniment. |
Individual study |
Presentation |
|
3 |
Studying the first and second lied with the original tempo. |
Individual study |
Presentation |
|
4 |
Desciphering the first aria antiche that is given by the lecturer with accompaniment. |
Individual study |
Presentation |
|
5 |
Desciphering the second aria antiche that is given by the lecturer with accompaniment. |
Individual study |
Presentation |
|
6 |
Studying the first and second aria antice with the original tempo. |
Individual study |
Presentation |
|
7 |
Studying the first and second lied with the original tempo. |
Individual study |
Presentation |
|
8 |
Studying the first and second aria antiche with nuance. |
Individual study |
Presentation |
|
9 |
Completion of the musical studies of the two lieds and two arias. |
Individual study |
Presentation |
|
10 |
Studying two lieds and two aria antiches by heart. |
Individual study |
Presentation |
|
11 |
Listening to the two lieds and aria antiches with the lecturer. |
Individual study |
Presentation |
|
12 |
Desciphering the first aria that is given by the lecturer with accompaniment |
Individual study |
Presentation |
|
13 |
Desciphering the first aria that is given by the lecturer with accompaniment |
Individual study |
Presentation |
|
14 |
Studying the first aria with the original tempo. |
Individual study |
Presentation |
|
15 |
Studying the first aria with nuance. |
Individual study |
Presentation |
|
16 |
Studying the first aria by heart. |
Individual study |
Presentation |
|
17 |
Revision of the lieds and aria antiches that is studied before. |
Individual study |
Presentation |
|
18 |
Desciphering the second aria that is given by the lecturer with accompaniment. |
Individual study |
Presentation |
|
19 |
Studying breathing places of the second aria with accompaniment correctly. |
Individual study |
Presentation |
|
20 |
Studying the second aria with the original tempo. |
Individual study |
Presentation |
|
21 |
Studying the second aria with nuance. |
Individual study |
Presentation |
|
22 |
Studying the second aria by heart. |
Individual study |
Presentation |
|
23 |
Listening to the second aria with the lecturer. |
Individual study |
Presentation |
|
24 |
Determining the concert works and revision. |
Individual study |
Presentation |
|
25 |
Concert rehearsal |
Individual study |
Presentation |
|
26 |
General rehearsal for the concert |
Individual study |
Presentation |
|
27 |
Concert |
Individual study |
Presentation |
|
28 |
Determining the examination programme and revision. |
Individual study |
Presentation |
|
29 |
Elimination of deficiencies in the exam program. |
Individual study |
Presentation |
|
30 |
Examination rehearsal |
Individual study |
Representation |
|
31 |
General rehearsal for the examination |
Individual study |
Presentation |
|
32/33/34 |
Final exam |
Individual study |
|
|
|
| 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. |
2 |
|
3 |
Gains the musical and technical ability to interpret national and international works of literature on the stage through Opera singing techniques and methods. |
3 |
|
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. |
2 |
|
7 |
Besides singing technique, controls his body successfully thanks to the abilities acquired through dance, stage and fencing disciplines. |
1 |
|
8 |
Improves the practical ability of singing ability which is developed through acquiring technical knowledge together with the acting ability on the stage. |
0 |
|
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. |
4 |
|
11 |
Constantly improves himself as a man of art, and follows the current activities related to his art closely. |
1 |
|
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. |
3 |
|
13 |
As well as having a sense of social responsibility, owns communication and social skills requried by performing arts. |
3 |
|
14 |
Gains the ability to transfer his knowledge on the art of opera singing to different audiences. |
2 |
|
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. |
2 |
|
16 |
Develops the ability of creating a character on the stage, maintaining mastery of work, singing with a partner and feeling the partner. |
3 |
|
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. |
1 |
| * Contribution levels are between 0 (not) and 5 (maximum). |
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