Artistic Major Subject Singing (Musical) IV
- Faculty
Institute of Music
- Version
Version 1 of 19.02.2025.
- Module identifier
66B6361
- Module level
Bachelor
- Language of instruction
German
- ECTS credit points and grading
10.0
- Module frequency
winter and summer term
- Duration
2 semesters
- Special features of the module
The courses “Artistic Major in Singing (Musical) IV” and “Coaching (Musical) IV” are offered over two semesters. The course “Acting through Songs (Musical) III” is only offered over one semester.
- Brief description
By the end of this module, students will apply a wide range of common professional skills, abilities and techniques to perform advanced vocal tasks. They will be able to interpret songs from musicals independently using a range of approaches and will be able to transfer these approaches to working with students. As part of this final module, students document their stage maturity in their main artistic subject.
- Teaching and learning outcomes
The module consists of the courses: “Artistic Major in Singing (Musical) IV”, “Coaching (Musical) IV” and “Acting through Songs (Musical) III”
Artistic major subject Singing (Musical) IV
1. the subject of the main artistic subject is to bring together the interests of singing and music and to create them independently and freely.
2. to interpret and perform songs independently.
3. the understanding of songs and songs in every respect: formal composition and structure, relationship between text and music, harmonic structure, rhythms, dramaturgy and the corresponding realization of these insights.Correpetition:
Rehearsal and public performance of extensive vocal works at a higher level of difficulty.Acting through songs:
1. development of own concepts of song interpretation
2. exercises for the rapid realization of other people's suggestions for interpretation
3. strengthening individual focus and skills
4. development of an audition repertoire
5. exercises for the audition 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 49 Individual coaching - 23 Learning in groups / Coaching of groups - Lecturer independent learning Workload hours Type of teaching Media implementation Concretization
- Graded examination
- Examination of artistic qualification
- Ungraded exam
- Work practical or
- Regular participation
- Remark on the assessment methods
The course “Artistic Major in Singing (Musical) IV” concludes with the graded examination “Artistic Examination”. “Acting throug Songs (Musical) III” concludes with the ungraded examination ‘Practical work sample’. “Korrepetition IV” ends with the ungraded examination ‘Regular Participation’.
- Exam duration and scope
Artistic major subject Singing (Musical) IV:
A self-developed and self-prepared show with songs of different musical-specific styles. The artistic presentation should consist of material that is part of the student's own repertoire but is placed in a coherent, self-developed context.The duration of the presentation is 20 minutes.
- Recommended prior knowledge
It is recommended to repeat and deepen all teaching content of the modules “Artistic major subject singing I-III”.
- Knowledge Broadening
On the basis of their knowledge of traditional vocal styles, students recognize the creative process of the genesis and synthesis of current trends in “contemporary non-classical singing” and actively participate in this process. They master the essential sub-areas of the various styles in terms of both technique and interpretation, know the underlying scientific approaches and can place these in the general subject context.
- Knowledge deepening
Students who have successfully completed this module have a distinctive style of their own, a personal, individual and unmistakable timbre, a detailed knowledge of specific stylistics and a well-developed vocal technique. Students will be able to discuss and reproduce the differences and similarities between performative presentations in musical, show-based, classical and literature-based forms of theater.
- Knowledge Understanding
Students who have successfully completed this module are able to use a variety of methods to understand musical and vocal contexts and to classify, group and interpret different styles. The instruments of musical communication are known and can be used. They can reflect on and classify methods and concepts with reference to the existing conditions of the professional field.
- Application and Transfer
Students who have successfully completed this module are able to apply job-related skills, abilities, techniques and competencies in a work-related environment. They can apply and further develop a wide range of technical and interpretative approaches, taking into account the complexity of hermeneutic principles.
- Academic Innovation
Students develop innovative approaches to the interpretation, technical design and communication of music by using their didactic and methodological repertoire in a creative, target group-oriented and varied way.
- Communication and Cooperation
Students who have successfully completed this module are able to present musical communication in familiar stylistic contexts as well as in creative new forms and to communicate in music-making practice, to incorporate stylistic elements and to develop them further. Students will be able to verbalize action problems in the structure, performance and instruction of musical theatrical work processes in a comprehensible manner.
- Academic Self-Conception / Professionalism
Students can adequately assess their individual qualification profile with regard to interdisciplinary competencies for self-regulated learning that are relevant to successful study.
- 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, Henschel Verlag, 2007.
9. Wolfram Seidner und Jürgen Wendler, Die Sängerstimme, Henschel Verlag, 1999.
10. Gillyanne Kayes, Singing and the actor, A & C Black, 2000.
11. Hildegund Lohmann-Becker, Handbuch Gesangspädagogik, Schott Verlag, 2008.
12. Cornelius L. Reid, Funktionale Stimmentwicklung, 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, Schott Verlag, 2009.
17. Cornelius L. Reid, A Dictonary of Vocal Terminology, Joseph Patelson Music House, 1983.
18. Paul Lohmann, Stimmfehler, Stimmberatung, Schott Verlag, 1938.
19. Johan Sundberg, Die Wissenschaft von der Singstimme, Orpheus-Verlag GmbH, 1997.
20. Frederick Husler und Yvonne Rodd-Marling, Singen, Schott Verlag, 1965.
21. William Vennard, Singing, Carl Fischer Verlag, 1967.
22. Cathrine Sadoline, Komplette Gesangstechnik, CVI Publications, 2016.
23. Cathrine Sadolin, Complete Vocal Technique App, 2017.
24. Bernhard Richter, Die Stimme, 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, Jo Estill, The Estill Voice Model, Estill voice Training System International 2017.
29. Kimberly Steinhauer, Mary McDonald Klimek, Kerrie Obert, 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, Jo Estill, "The Estill Voice Training System, Level Two, Figure Combination for six voice Qualitie", Estill voice Training System International, 2005.
31. Giovanni Battista Lamperti, Vocal Wisdom, hrsg. von William Earl Brown, Kessinger Legacy Reprints, 2000.
32. Tosi, Agricola, Anleitung zur Singekuns", Breitkopf und Härtel, 1994.
32. Oliver, Donald, How to Audition for the Musical Theatre, Hanover: Smith and Kraus Books, 1995.
33. Shurtleff, Michael, Audition, New York: Bantam Books, 1980.
34. Siedhoff, Thomas, Handbuch des Musicals, Mainz: Schott Music GmbH & Co. KG, 2007.
35. Silver, Fred, Auditioning for the Musical Theatre, New York: Penguin Books, 1988.
36. Clear, Marc, Zusammenfassung über Interpretation, Auditions und das Theaterleben, 2008.
37. Cohen, Darren und Perilstein, Michael, The Complete Professional Audition, New York: Back Stage Books, 2005.
38. Craig, David, On Singing Onstage, New York: Applause Theatre Book Publishers, 1990.
39. Kayes, Gillyanne und Fisher, Jeremy, Successful Singing Auditions, London: A & C Black Publishers Limited, 2002.
40. Walden, Barbara und Stanley, Life upon a wicked stage, Friedrich Verlag 1998
- Linkage to other modules
This module links the previous modules, and special attention is also paid to linking the dance and drama modules with this module.
- Applicability in study programs
- Music Education
- Music Education – Musical B.A. (01.09.2023)
- Person responsible for the module
- Wienhausen, Sascha
- Teachers
- Wienhausen, Sascha
- Christ, Thomas
- Schubert, Ulrike
- Scholz, Carolin-Christina
- Bruhn, Valerie
- Seitz, Marc
- Wessels-Behrens, Martin
- Sievers, Kathrin
- Rentmeister, Eric