Musicaldance (Jazzdance, Ballet, Tapdance, Ensembledance/Show) IV

Faculty

Institute of Music

Version

Version 1 of 26.02.2025.

Module identifier

66B6362

Module level

Bachelor

Language of instruction

German

ECTS credit points and grading

10.0

Module frequency

only winter term

Duration

2 semesters

 

 

Special features of the module

This module consists of four courses. Jazzdance (Musical) I and Modern (Musical) are taught in both semesters. Tapdance (Musical) IV and Ensemble Dance/Show (Musical) II end after the winter semester. 

Brief description

Choreographies in musicals today are multi-stylistic and formally diverse, which is why a performer must know and master a wide variety of techniques and styles. The musical dance sequences module offers students the opportunity to perfect their skills in a classical musical and show-specific dance form, which is important for later mastering the dance requirements of a wide variety of musical genres in performance and teaching.

Teaching and learning outcomes

The module consists of four courses: Jazzdance (Musical) IV, Modern (Musical), Tapdance (Musical) IV and Ensemble Dance / Show (Musical) II.

Jazzdance (Musical) IV: 
1. technical improvement of what has been learned so far 
2. increase the variety of dance skills 
3. work on the individual weaknesses and strengths of the students 
4. independent development of own choreographies

Tapdance (musical) IV: 
1. warm-up to loosen up the ankles 
2. training with an emphasis on cleanliness and speed in difficult step techniques and combinations 
3. coordination of foot and arm movements 
4. stage presence

Ensemble dance/show (musical9 II:
1. choreographies with a high level of difficulty 
2. rehearsing choreographies for the ZAV graduate presentation 
3. performance training 
4. audition training

Modern (Musical):
Modern dance trains a wide variety of movement sequences and possibilities. 
1. flowing movement sequences,
2. swinging movements guided by the center of the body,
3. use of different tempos in the movements,
4. use of the whole body.

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 hoursType of teachingMedia implementationConcretization
270Learning in groups / Coaching of groups-
Lecturer independent learning
Workload hoursType of teachingMedia implementationConcretization
30Preparation/follow-up for course work-
Graded examination
  • Examination of artistic qualification
Ungraded exam
  • Work practical or
  • Regular participation
Remark on the assessment methods

The course Jazzdance (Musical) IV ends with a graded artistic examination. The courses Modern (Musical), Ensemble Dance / Show (Musical) II and Tapdance (Musical) IV conclude with one of two ungraded examinations, regular participation or a practical work sample. 

Exam duration and scope

The Jazzdance (Musical) IV module ends with a graded examination:
Demanding dance and dance technique exercises in the room (warm up and across the floor), choreography (complex step sequence in a specific style, with a high degree of difficulty), self-developed choreography in a style of the student's choice, duration max. 2 min.

The duration of the exam is approx. 50 minutes. 

Recommended prior knowledge

Successful completion of the musical dance module (jazz dance, ballet, tap dance, musical dance show) IV is required. 

Knowledge Broadening

Students at Osnabrück University of Applied Sciences who have successfully completed this module are familiar with most of the key areas of knowledge in the subject, including its special features, limitations, terminology and prevailing doctrines.

Knowledge deepening

Students at Osnabrück University of Applied Sciences who have successfully completed this module have a comprehensive and internalized knowledge of most of the core areas and principles, boundaries, terminology and conventions of musical dance.

Knowledge Understanding

Osnabrück University of Applied Sciences students who have successfully studied this module use various dance and physical techniques to support and improve aspects of training. They can give advice on the development of choreographic works in order to improve their effectiveness.

Application and Transfer

Osnabrück University of Applied Sciences students who have successfully studied this module apply various common professional skills, abilities and techniques to implement standardized choreographic sequences and develop complex step sequences.

Academic Innovation

Students can use methods and body techniques to externalize inner processes. They can implement their own ideas and choreograph a dance expression depending on the situation. 

Communication and Cooperation

The students at Osnabrück University of Applied Sciences who have successfully studied this module provide implementation possibilities, interpretations and performative ideas for musical impulses and demonstrate originality and creativity.

Academic Self-Conception / Professionalism

Students are able to assess their own dance skills and place them in a professional context. They enter a complex professional field with good professional competence and a good individual qualification profile. 

Literature

1. Agrippina J. Waganowa, Grundlagen des klassischen Tanzes, Henschel Verlag, 2002. 
2. Jochen Schmidt, Tanzgeschichte des 20. Jahrhunderts in einem Band mit 101 Choreografenportraits, Henschel Verlag, 2002. 
3. Horst Koegler und Klaus Kieser, Wörterbuch des Tanzes, Stuttgart: Philipp Reclam jun., 2009. 
4. Nikolai I. Tarassow, Klassischer Tanz, Die Schule des klassischen Tänzers, Leipzig: Henschel, 2005. 
5. Vera S. Kostrowitzkaja, Schule des klassischen Tanzes, Die Waganowa-Methode in der Praxis, 2003. 
6. Liane Simmel, Tanzmedizin in der Praxis. Anatomie, Prävention, Trainingstipps, Leipzig: Henschel, 2009. 
7. Eric N. Franklin und Erich Walker, Tanz-Imagination. Stark im Ausdruck und perfekt in der Technik. Das Handbuch für Training und Bühne, Vak-Verlag, 2009. 
8. Jacqui G. Haas, Trixi Maraile Bücker und Birgit Pleier, Dance Anatomie. Illustrierter Ratgeber für Beweglichkeit, Kraft und Muskelspannung im Tanz, Copress, 2010. 
9. Gitta Barthel und Hans G. Artus, Vom Tanz zur Choreographie. Gestaltungsprozesse in der Tanzpädagogik, ATHENA-Verlag, 2008. 
10. Sabine Huschka, Moderner Tanz. Konzepte - Stile - Utopien, rororo Taschenbuch, 2002. 
11. Julia Dold und Lea Schilling, Kreativer Kindertanz. Spaß und Freude am Tanz vermitteln, Meyer & Meyer Sport, 2011. 
12. Konstantin Tsakalidis, Choreographie – Handwerk und Vision. Fachbuch für Choreographen, Tänzer und Perfomer, Stage Verlag, 2010. 
13. Donald Oliver, How to Audition for the Musical Theatre, Hanover: Smith and Kraus Books, 1995. 
14. Michael Shurtleff, Audition, New York: Bantam Books, 1980. 
15. Thomas Siedhoff, Handbuch des Musicals, Mainz: Schott Music, 2007. 16. Fred Silver, Auditioning for the Musical Theatre, New York: Penguin Books, 1988.

Linkage to other modules

The module is closely linked to all modules in the areas of singing, acting, lab and interpretation. 

Applicability in study programs

  • Music Education
    • Music Education – Musical B.A. (01.09.2023)

    Person responsible for the module
    • Wienhausen, Sascha
    Teachers
    • Schmieder, Michael Josef
    • Tasfi, Gabor
    • Bahle, Oliver
    • Giusti, Viviana
    • Del Canto, Neven