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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 |
Introducing students with the annual lesson plan. |
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Presentation / Case Study |
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2 |
Warm-up and Coordination. Introduction to "Polonaise". |
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Presentation / Case Study |
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3 |
Warm-up and Coordination. Working on "Polonaise" and practicing the first figure. |
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Presentation / Case Study |
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4 |
Warm-up and Coordination. Working on "Polonaise" and practicing the second figure. |
|
Presentation / Case Study |
|
5 |
Warm-up and Coordination. Work on "Polonaise" and practicing the third figure. |
|
Presentation / Case Study |
|
6 |
Warm-up and Coordination. Working on "Polonaise" and practicing the fourth figure. |
|
Presentation / Case Study |
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7 |
Warm-up and Coordination. Working on "Polonaise" and practicing the fifth and sixth figure. |
|
Presentation / Case Study |
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8 |
Warm-up and Coordination. Working on "Polonaise" and practicing the seventh figure. |
|
Presentation / Case Study |
|
9 |
Warm-up and Coordination. Working on "Polonaise" and practicing the eighth figure. |
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Presentation / Case Study |
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10 |
Warm-up and Coordination. Working on "Polonaise" and practicing the ninth figure. |
|
Presentation / Case Study |
|
11 |
Warm-up and Coordination. Introduction to " Menuet" and practicing the first figure. |
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Presentation / Case Study |
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12 |
Warm-up and Coordination. Working on "Menuet" and Practicing the second and third figure. |
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Presentation / Case Study |
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13 |
Warm-up and Coordination. Work on "Menuet" and practicing the fourth and fifth figure. |
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Presentation / Case Study |
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14 |
General evaluation and detection of deficiencies |
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15 |
Semester analysis and general revision. |
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16 |
Semester analysis and general revision. |
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17 |
Warm-up and Coordination. Introduction to"Polka" and practising the first figure. |
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Presentation / Case Study |
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18 |
Warm-up and Coordination. Working on "Polka" and practicing the second and third figure. |
|
Presentation / Case Study |
|
19 |
Warm-up and Coordination. Working on "Polka" and practising the fourth and fifth figure. |
|
Presentation / Case Study |
|
20 |
Warm-up and Coordination. Introduction to"Tarantella" and studying the main rhythm. |
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Presentation / Case Study |
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21 |
Warm-up and Coordination. Working on "Tarantella" and practicing the first figure. |
|
Presentation / Case Study |
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22 |
Warm-up and Coordination. Working on "Tarantella" and practising the second and third figure. |
|
Presentation / Case Study |
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23 |
Warm-up and Coordination. Working on "Tarantella" and practising the fourth and fifth figure. |
|
Presentation / Case Study |
|
24 |
Warm-up and Coordination. Working on "Tarantella" and practising the sixth figure. |
|
Presentation / Case Study |
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25 |
General evaluation and detection of deficiencies |
|
Presentation / Case Study |
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26 |
Warm-up and Coordination. Introduction to "Mazurka" and studying the first figure. |
|
Presentation / Case Study |
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27 |
Warm-up and Coordination. Working on "Mazurka" and practising the second and third figure. |
|
Presentation / Case Study |
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28 |
Warm-up and Coordination. Working on "Mazurka" and practising the fourth and fifth figure. |
|
Presentation / Case Study |
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29 |
Warm-up and Coordination. Working on "Mazurka" and practising the sixth figure. |
|
Presentation / Case Study |
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30 |
Warm-up and Coordination. Working on "Mazurka" and practising the seventh figure. |
|
Presentation / Case Study |
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31 |
Preparation for the final exam |
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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* |
|
1 |
Gains the ability to review advanced knowledge and skills acquired in the field critically |
0 |
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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. |
0 |
|
4 |
Gains the ability to use voice mechanism accurately and efficiently on the stage, to ensure breath coordination and to protect voice health. |
0 |
|
5 |
Gains the ability to review universal values with the knowledge acquired in their field of study. |
0 |
|
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. |
0 |
|
9 |
Gains the ability to provide all kinds of national and international singing literature documents, equipments, resources and archive related to his field. |
0 |
|
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 |
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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. |
1 |
|
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. |
3 |
|
16 |
Develops the ability of creating a character on the stage, maintaining mastery of work, singing with a partner and feeling the partner. |
0 |
|
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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