Interpretative Practice
Code
711021060
Academic unit
Faculdade de Ciências Sociais e Humanas
Department
Ciências Musicais
Credits
6
Teacher in charge
Helena Rodrigues
Weekly hours
4
Teaching language
Portuguese
Objectives
After completing this curricular unit, the student should be able to:
a) Interpret pieces from a selected vocal repertoire;
b) Improvise in pre-defined tonal contexts;
c) Improvise using a wide range of vocal and body expressions;
d) Analyse vocal and movement techniques showing critical and contemplative abilities.
Prerequisites
None
Subject matter
1) Practical work using both physical and vocal elements.
2) Practical exercises together with music using the voice:
2.1) Performing a vocal repertoire covering different time periods;
2.2) Practicing use of unrestricted improvisation;
2.3) Practicing improvisation in a tonal context.
3) Judging the merit of artistic works, with particular emphasis on work of a musical-theatre nature and works for the voice.
4) Attending rehearsals / coming into contact with artists and specialists in the area of the specific techniques that are part of the studies involving the voice and movement
Bibliography
Campo, G. & Molik, Z. (2012). Trabalho de Voz e Corpo de Zygmunt Molik: o legado de Jerzy Grotowski. São Paulo: É Realizações.
Gordon, E. (2005). Harmonic Improvisation for Adult Musicians. Chicago: GIA.
Jordan, J. & Shenenberger, M. (2004). Ear Training Immersion Exercises for Choirs. Chicago: GIA.
Nachmanovitch, S. (1990). Ser Criativo o poder da improvisação na vida e na arte. São Paulo: Summus Editorial
Schafer, M. (1991). O ouvido pensante. São Paulo: UNESP.
Teaching method
Activities using the voice and movement, guided by the teacher. Individual and group exercises (two, three or four students). Open classes where invited teachers participate. Listen and watching educational material of an artistic nature: analysis, discussion and reflection.
Evaluation method
Evaluation:
1) The quality of the students participation in class and a written document made up of a critical summary of each class (80%);
2) Final practical exame to be defined in function of the diagnostic test carried out at the beginning of the semester, including both an interpretation and improvisation musical activity (20%).
Given the nature of the practical work and the fact that it depends upon a good working relationship in the group, timeliness and regular attendance will be taken into consideration when evaluating the document mentioned in 1) above.