Artistic Major Subject Singing (Musical) I
- Faculty
Institute of Music
- Version
Version 1 of 18.02.2025.
- Module identifier
66B6350
- Module level
Bachelor
- Language of instruction
German
- ECTS credit points and grading
10.0
- Module frequency
winter and summer term
- More information on frequency
The courses “Rolle und Lied” and “Korrepetition” begin in the second semester.
- Duration
2 semesters
- Brief description
In the module “Artistic Major in Singing (Musical) I”, consisting of the courses “Artistic Major in Singing (Musical) I”, “Coaching Musical I” and “Role and Song I”, students receive comprehensive training in singing skills. This module forms the central area of the Music Education course in the Musical specialization. A broadly diversified training ensures the basis for a methodically varied and high level of teaching competence and is therefore a strategically important segment of the degree course. Due to the diversity of the subject, the basics of voice training must be oriented towards a variety of musical styles.
- Teaching and learning outcomes
Basics of the main artistic subject of singing (musical):
Voice training is based on reflective processes, which are learned using specific practice patterns. This takes place with the help of vocalizations as well as through the use of musical literature.
With the help of kinaesthetic, auditory and imaginative methods, sensitization processes take place that enable a deeper understanding of artistic singing.
Methods for releasing tension are used to release incorrect sequences stored in muscle memory. A deeper understanding is achieved through the explanation of anatomical conditions.Repetition: Students acquire a gradually increasing repertoire of vocal literature and learn to perform together with others.
Role and song: 1. transferring the basics of acting to a scene with singing. 2. improvisation to merge singing and acting tasks. 3. dealing with the character and situation in the context of the play 4. finding one's own attitude towards the character and the initial situation.
- Overall workload
The total workload for the module is 300 hours (see also "ECTS credit points and grading").
- Teaching and learning methods
Lecturer based learning Workload hours Type of teaching Media implementation Concretization 41 Individual coaching - 22 Learning in groups / Coaching of groups - Lecturer independent learning Workload hours Type of teaching Media implementation Concretization 237 seminar paper -
- Graded examination
- Examination of artistic qualification or
- Work practical
- Ungraded exam
- Regular participation
- Remark on the assessment methods
The artistic examination takes place at the end of the course “Artistic Major in Singing (Musical) I”. “Role and song” concludes with a work sample; like ‘Role and song’, accompaniment ends ungraded with ‘regular participation’.
- Exam duration and scope
The artistic major subject Musical Singing ends in the course “Küntlersiches Hauptfach Gesang (Musical) I” with a solo performance of a self-chosen song from the musical literature and a performance of a polyphonic movement of the corresponding level (with a soloist within the movement). The duration of the examination is approx. 10-15 minutes.
The ungraded examination performance “work sample” in “role and song” is defined by the relevant teacher during the course.
- Recommended prior knowledge
Passing the aptitude test. Vocal, musical and performance aptitude.
- Knowledge Broadening
Students who have successfully completed this module understand the connections between the musical use of the voice and the use of the voice in accordance with the laws of the voice for functioning in their specific field of work.
- Knowledge deepening
Graduates of this module reflect on the epistemological correctness of professional and practice-relevant statements and understand vocal and performance contexts. These are seen in relation to the complex context and critically weighed up against each other. Problems are solved with professional plausibility against the background of possible connections.
- Knowledge Understanding
Students are able to adapt their voice to the artistic demands of the interpreted literature and achieve valid performance results in a wide range of vocal works.
- Application and Transfer
Students at Osnabrück University of Applied Sciences who have successfully completed this module will have mastered common professional skills, abilities and techniques and will be able to use appropriate musical literature and methods in a professional manner.
- Academic Innovation
Students at Osnabrück University of Applied Sciences who have successfully completed this module use a range of approaches and procedures that are common in vocal practice and can apply these to standard problems. They are able to carry out a transfer between the requirements of the extensive literature in the field of musicals on the basis of scientific knowledge, to explain and justify their decisions.
- Communication and Cooperation
Students at Osnabrück University of Applied Sciences who have successfully completed this module use a range of approaches and procedures that are common in vocal practice and can apply them to standard problems.
- Academic Self-Conception / Professionalism
Students who have successfully completed this module know the professional requirements that are based on the standards of professional action in professional fields that are predominantly outside of science. They can justify their actions with the help of their theoretical and methodological knowledge. They are also able to assess their skills on a basic level, reflect autonomously within their subject-related freedom of organization and decision-making and use this freedom under guidance. They act responsibly and ethically and reflect on their actions in relation to solo tasks as well as in group and ensemble work, both critically in relation to social expectations and their consequences.
- Literature
1. Richard Miller, The structure of Singing, Schirmer Verlag, 1986.
2. Franziska Martienßen-Lohmann, Der wissende Sänger, Atlantis Verlag, 1956.
3. Franziska Martienßen-Lohmann, Ausbildung der Gesangsstimme, Rud. Erdmann Musikverlage, 1957.
4. Franziska Martienssen, Das bewußte Singen, C.F. Kahnt Verlag.
5. Franziska Martienssen, Stimme und Gestaltung, C.F. Kahnt Verlag, 1993.
6. Franziska Martienssen-Lohmann, Der Opernsänger, Schott Verlag, 1943.
7. Ilse Middendorf, Der erfahrbare Atem, Junfermann-Verlag, 1995.
8. Wolfram Seidner, ABC des Singens, Leipzig: Henschel Verlag, 2007.
9. Wolfram Seidner und Jürgen Wendler, Die Sängerstimme, Leipzig: Henschel Verlag, 1999.
10. Gillyanne Kayes, Singing and the Actor, A & C Black, 2000.
11. Hildegund Lohmann-Becker, Handbuch Gesangspädagogik, Mainz: Schott Verlag, 2008.
12. Cornelius L. Reid, Funktionale Stimmentwicklung, Mainz: Schott Verlag, 1994.
13. Cornelius L. Reid, The Free Voice, The Joseph Patelson Music House, 1972.
14. Cornelius L. Reid, Bel Canto, The Joseph Patelson Music House, 1972. 15. Cornelius L. Reid, Psyche and Soma, The Joseph Patelson Music House, 1982.
16. Cornelius L. Reid, Erbe des Belcanto, Mainz: Schott Verlag, 2009.
17. Cornelius L. Reid, A Dictonary of Vocal Terminology, Joseph Patelson Music House, 1983.
18. Paul Lohmann, Stimmfehler, Stimmberatung, Mainz: Schott Verlag, 1938.
19. Johan Sundberg, Die Wissenschaft von der Singstimme, Orpheus-Verlag, 1997.
20. Frederick Husler und Yvonne Rodd-Marling, Singen, Mainz: Schott Verlag, 1965.
21. William Vennard, Singing, Carl Fischer Verlag, 1967.
22. Cathrine Sadoline, Komplete Gesangstechnik, CVI Publications, 2016. 23. Cathrine Sadolin, Complete Vocal Technique App, 2017.
24. Bernhard Richter, Die Stimme, Leipzig: Henschel Verlag, 2013.
25. Seth Riggs, Singing for the Stars, Alfred Publishing & Co.
26. W. Rohmert, Grundzüge des funktionalen Stimmtrainings, in: Zeitschrift für Arbeitswissenschaft 1983.
27. Claudia Spahn (Hrsg.), Körperorientierte Ansätze für Musiker, 2017.
28. Kimberly Steinhauer, Mary McDonald Klimek, Kerrie Obert und Jo Estill, The Estill Voice Model, Estill Voice Training System International 2017.
29. Kimberly Steinhauer, Mary McDonald Klimek, Kerrie Obert und Jo Estill, The Estill Voice Training System. Level One: Compulsory Figures for Voice Control, Estill Voice Training System International, 2005.
30. Kimberly Steinhauer, Mary McDonald Klimek, Kerrie Obert und Jo Estill, The Estill Voice Training System. Level Two: Figure Combination for six Voice Qualities, Estill Voice Training System International, 2005.
31. Giovanni Battista Lamperti, Vocal Wisdom, hrsg. v. William Earl Brown, Kessinger Legacy Reprints 2000.
32. Agricola Tosi, Anleitung zur Singekunst, Breitkopf und Härtel, 1994.
33. Lexikon der Gesangstimme, Laaber Verlag, 2016
- Linkage to other modules
The module is to be combined with content from the areas of acting and dance.
- Applicability in study programs
- Music Education
- Music Education – Musical B.A. (01.09.2023)
- Person responsible for the module
- Wienhausen, Sascha
- Teachers
- Wienhausen, Sascha
- Bruhn, Valerie
- Scholz, Carolin-Christina
- Schubert, Ulrike
- Christ, Thomas
- Seitz, Marc