Об этом курсе
4.8
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Рецензии: 77
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Прибл. 21 час на выполнение

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Английский

Субтитры: Английский
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Назначьте сроки сдачи в соответствии со своим графиком.
Часов на завершение

Прибл. 21 час на выполнение

Предполагаемая нагрузка: 20-25 hours of lectures and exams...
Доступные языки

Английский

Субтитры: Английский

Программа курса: что вы изучите

Неделя
1
Часов на завершение
3 ч. на завершение

An Introduction to Rehearsing

This week, Module 1, we’ll discuss basic philosophical issues such as: What we do in rehearsals, what skills are needed, and the idea of the conductor as “the composer’s advocate.” I will also introduce the concept of Macro-Micro-Macro, which serves as the overarching principle of rehearsals. Then we will move on to basic conducting technique....
Reading
21 видео ((всего 167 мин.)), 1 тест
Video21 видео
What Do We Do in Rehearsals?9мин
What Skills Do We Need?3мин
Calibrating Your Ears6мин
Serving as the Composer’s Advocate15мин
A Choral Perspective: The Rehearsal Process4мин
An Orchestral Perspective: Three Categories of Conducting11мин
Introduction to Conducting5мин
Basic Set-Up5мин
Conducting without a Baton5мин
Baton Grip5мин
Basic Patterns21мин
Active and Passive Beats6мин
Starting Pieces8мин
Ending Pieces6мин
The Ensembles that Appear in this Course1мин
Macro-Micro-Macro: The Basic Process5мин
Examples of Macro-Micro-Macro: Breaking Things Down7мин
A Choral Perspective: Teaching Notes8мин
Rehearsal Demos: Macro-Micro-Macro24мин
Conclusionмин
Quiz1 практическое упражнение
Module 1 Quiz20мин
Неделя
2
Часов на завершение
2 ч. на завершение

Communicating with the Ensemble

Module 2 begins with a discussion about repertoire: how to define quality music and how to choose a balanced, musically nourishing program. Building on the topics of Module 1, this week’s conducting technique videos focus on the grammar for starting and stopping pieces. In the rehearsal technique videos, the overarching topic is how to communicate with the ensemble to convey musical intent. Essentially, the idea is to give musical instruction, but there are a range of strategies we must master to be effective in all situations.This week introduces those strategies and organizes them according to modes of instruction, including performance technique, adjectives, analogy, and modeling....
Reading
17 видео ((всего 114 мин.)), 1 тест
Video17 видео
Finding Quality9мин
Choosing Repertoire: The Musical Meal6мин
A Choral and Orchestral Perspective: Repertoire24мин
Count-offs: Additional Ways to Begin a Piece4мин
Rehearsal Examples: Starting on Various Beats within a Measure4мин
Stopping the Group3мин
Changing the Size of the Pattern Based on the Music5мин
Introduction to Rehearsal Segmentsмин
Directing People's Attention in Rehearsal3мин
Who, Where, What / Measure Numbers / "Count with Me"6мин
Using "I" and "We"5мин
Insisting on What You Want2мин
Strategies for Communicating Musical Ideas9мин
Communicating with Various Modes of Instruction9мин
A Choral and Orchestral Perspective (Multiple Topics)14мин
Conclusion1мин
Quiz1 практическое упражнение
Module 2 Quiz20мин
Неделя
3
Часов на завершение
5 ч. на завершение

Introducing the Rehearsal Toolkit

Week 3’s material begins with more left hand technique, expanding on the concepts introduced in Module 2 and continuing with gestures to show dynamics. The section on rehearsal technique begins with an explanation of the ‘Rehearsal Toolkit,” a collection of ideas, or “tools,” each designed to fix a musical issue. Rehearsal tools are meant to supplement the modes of instruction that were discussed last week. In other words, in addition to using direct vocabulary, modeling, and metaphor and analogy, these tools can elicit musical responses when gesture and words fail. A caveat: all of these approaches depend on the musicians having the technique required to perform the repertoire. This may seem obvious, but the fanciest baton twirl and colorful analogy are meaningless to help, say, a trumpeter, perform staccato if he does not tongue properly and employ good embouchure. Fundamentals must be taught, either in or out of the rehearsal, and the appropriate method depends on the level and age of the musician in the ensemble.Module 3 concludes with multi-purpose tools, including singing and “bopping.” These are the Swiss-Army knives of rehearsal technique, each useful for a variety of issues, from articulation to balance to rhythm. As you acquire the tools discussed in this module, also consider what else you can put in your toolbox. What techniques do you currently use? What tools can you borrow from other musicians? The more options we have in rehearsal the more likely we will be to solve a musical problem....
Reading
25 видео ((всего 183 мин.)), 2 тестов
Video25 видео
Introduction to Left Hand Technique: Statue and Mirroring4мин
More Left Hand Technique: Statue, Mirroring, and Independence6мин
Demos of the Left Hand in Rehearsal1мин
Showing Dynamics and Dynamic Changes12мин
The Importance of Technique as a Foundation4мин
The Rehearsal Toolkit: Rhythm1мин
Teaching Subdivision: Filling in the Rests3мин
Thinking in Rhythmic Subdivisions12мин
“Playing” without Sound: Active Resting and Handoffs8мин
Working with Contrasting Rhythmic Layers5мин
Cleaning Up Sloppy Entrances2мин
Rests as Elements of Expression2мин
Rushing6мин
Meter, Accents, and Perception10мин
Rhythmic Compression5мин
A Choral and Orchestral Perspective: Rhythm16мин
Multi-Purpose Techniques4мин
Rehearsal Demos: Bopping Part I11мин
Rehearsal Demos: Bopping Part II7мин
Rehearsal Demos: Using Singing7мин
Rehearsal Demos: Slowing Down the Tempo for Rhythm and Accuracy21мин
Rehearsal Demos: Slowing Down the Tempo for Intonation and Balance7мин
Rehearsal Demos: Slowing Down the Tempo for Articulation and Style14мин
Conclusion1мин
Quiz1 практическое упражнение
Module 3 Quiz20мин
Неделя
4
Часов на завершение
5 ч. на завершение

Articulation, Balance, and Tone

Module 4 begins with perhaps the most crucial task a conductor undertakes: score study. Score study is the umbrella term for the process of thoroughly learning a score-- not just knowing how to sing the melody or memorizing phrases and meters--but learning every aspect of the music that may come to bear on our ability to interpret, conduct, rehearse, and perform it. Unlike many grammatical aspects of conducting, score study is a time-consuming, immersive activity for which it is normal to develop one’s own process, assuming the end result is a deep understanding of the work. After score study, Module 4 moves back to the grammar of conducting, particularly technique for conducting articulations. Please note that this week also contains a very brief introduction to the three types of fermatas. In Module 5 we’ll cover them in detail. These are topics for which regular practice and self-evaluation will be necessary to develop gestures that are clear to the ensemble and second-nature to the conductor. Finally, we will return to “The Rehearsal Toolkit” and explore strategies for rehearsing articulation, balance, and tone. This final topic includes a video on using the piano to demonstrate harmonies and other musical features to the ensemble. Particularly in educational settings, it is important for the conductor to do more than treat the ensemble as his personal musical instrument. Instead, find opportunities to lead ensembles to an understanding of the music it is performing, a goal that only score study makes possible....
Reading
28 видео ((всего 273 мин.)), 1 тест
Video28 видео
Score Study22мин
Applying Your Score Study8мин
A Choral and Orchestral Perspective: Score Study23мин
Applying Score Study to a Rehearsal26мин
Cues14мин
Conducting Articulations: Legato7мин
Conducting Articulations: Two Variations on Legato2мин
Conducting Articulations: Staccato and Accents8мин
Conducting Fermatas and Rubato2мин
Specific Choral Conducting Techniques16мин
Specific String Conducting Techniques7мин
Review: Two Themes of the Course3мин
Exaggerating Style and Expressive Details5мин
The Vocabulary of Articulation10мин
Articulation: Accentuation through Emphasis and De-Emphasis3мин
Bopping for Articulation1мин
Developing a Legato Style4мин
19th-Century Style with 21st-Century Ensembles8мин
Additional Articulation Techniques10мин
A Choral Perspective: Articulation and Diction11мин
An Orchestral Perspective: String Articulation and Bowing16мин
Balance and Tone16мин
A Choral & Orchestral Perspective: Balance and Tone21мин
Working with Dissonance3мин
Using the Piano to Demonstrate Complex Harmonies7мин
Where to Begin When You Don’t Know Where to Begin8мин
Conclusionмин
Quiz1 практическое упражнение
Module 4 Quiz20мин
4.8
Рецензии: 77Chevron Right
Формирование карьерного пути

33%

начал новую карьеру, пройдя эти курсы
Карьерные преимущества

83%

получил значимые преимущества в карьере благодаря этому курсу

Лучшие рецензии

автор: TBAug 28th 2015

This is a great course and also flexible to needs of students. If you get behind, the course is built to help you get back on track. I find this extremely helpful with a busy and irregular schedule.

автор: SSSep 11th 2017

This was an interesting and very useful course. Directors responsible for rehearsing ensembles will enjoy learning techniques, and even experienced conductors will benefit from revision and sharing.

Преподаватель

Avatar

Dr. Evan Feldman

Associate Professor & Wind Ensemble Conductor
Music

О The University of North Carolina at Chapel Hill

The University of North Carolina at Chapel Hill, the nation’s first public university, is known around the world for innovative teaching and research. Regularly ranked as the nation’s best value for academic quality, UNC has produced the most Rhodes Scholars for the past 25 years among U.S. public research universities....

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