成人大片

1. Develop student's technical skill to an appropriate level for seamless, consistent and wide ranging tonal production and fluency for the performance of pedagogically significant works of intermediate to advanced levels of difficulty.
2. Develop their stylistic awareness to an appropriate level for historically informed and compositionally empathetic performance of pedagogically significant works of intermediate to advanced levels of difficulty.
3. Develop their interpretive ability to an appropriate level for insightful and creative performance of pedagogically significant works of intermediate to advanced levels of difficulty.
4. Increase the scope of their performance repertoire to encompass a variety of pedagogically significant works of intermediate to advanced levels of difficulty.
5. Develop their program building acuity to an appropriate level that will ensure balance, variety, thematic direction and cohesion in their choice of recital content
6. Increase their knowledge and understanding to enable insightful commentary in written program notes concerning the purposes and contexts of repertoire being performed
7. Further develop a fluent use of written language sufficient to support appropriate program notes for a pedagogy recital.
8. Further develop effective autonomous and well directed practice regimes that build towards a finessed and meaningful recital performance

Booklists and other sources of information will be distributed throughout the Course

Tait,M. and Haack,P. 1984. Principles and Processes of Music Education. New York and London. Teachers College Press. Columbia University.
Beetlestone, F. 1998. Creative Children, Imaginative Teaching. Buckingham and Philadelphia. Open University Press.
Craft, A., Jeffrey, R., Leibling, M. 2001. Creativity in Education. London and New York. Continuum

Gumm, A. 2003. Music Teaching Style: Moving beyond tradition. Galesville. Meredith Music Publications.

Parncutt, R., and McPherson, G. 2002. The Science and Psychology of Music Performance. Oxford and New York. Oxford University Press.
Crozier, R., Scaife, N., and Marks, A. 2004. All Together! Teaching music in groups. London. Associated Board.

Baker-Jordan, M. 2003. Practical Piano Pedagogy. Miami. Warner Bros. Publications

Jacobson, J. 2006. Professional Piano Teaching. Los Angelis. Alfred Publishing Inc.

Magrath, J. 1995. The Pianist’s Guide to Standard Teaching and Performance Literature. Van Nuys, CA. Alfred Publishing Inc.

Proceedings of the Australasian Piano Pedagogy Conferences, 1993 – 2007.

Booth, Eric. 'The Music Teaching Artist's Bible: Becoming a Virtuoso Educator', Oxford: Oxford University Press, 2009, online access through Elder Conservatorium of Music Library.
Hallam, S. 'Instrumental Music Teaching: A Guide to Better Teaching and Learning', Oxford: Heinemann Educational, 1998, on closed reserve Elder Conservatorium of Music Library
Harris, P. 'Improve your Teaching! An essential handbook for instrumental and singing teachers' Faber: London, 2006, on Closed Reserve Elder Conservatorium of Music Library.
Houlahan, M and Tacka, P. 'Kodaly Today', Oxford: Oxford University Press, 2008, online access through Elder Conservatorium of Music Library.
Additional booklists and other sources of information will be distributed throughout the course.

Voice
Appelman,D.Ralph, The Science of Vocal Pedagogy,Bloomington,Indiana University Press,1967
Brown, Oren, Discover your Voice, San Diego, London, Singular Publishing Group 1996
Bunch, Meribeth, Dynamics of the Singing Voice,4 Ed., Wien ,New York, Springer Verlag 1997
Chapman, Janice, Singing and Teaching Singing, San Diego, London, Brisbane, Plural Publishing 2006
Doscher, Barbara, The Functional Unity of the Singing Voice, Lanham, London, The Scarecrow Press 1994
Garcia, Manuel, Hints on Singing [1894], Kessinger Publishing Rare Reprints, www.kessinger.net
Heirich, Jane Ruby Voice and the Alexander Technique, Berkeley, Mornum Time Press 2005 [Husson,
Raoul, Physiologie de la Phonation, Paris, Masson et Cie 1962]
Husler, F and Rodd-Marling,Yvonne, Singing. The Physical Nature of the Vocal Organ, Melbourne, London, Hutchinson Publishing 1976 Kimball, Carol, A Guide to Art Song Style and Literature, Milwaukee, Hal Leonard, 2005
McKinney, James, Diagnosis and Correction of Vocal Faults, Nashville, Broadman Press 1982
Miller, Richard, Training Tenor Voices, New York, Schirmer Books,1993
Miller,Richard, Training Soprano Voices, Oxford University Press, USA 2000ï‚· ISBN-10: 0195130189 ISBN-13: 978-0195130188
Miller, Richard, Solutions for Singers, Oxford,OUP 2004
Power, Patrick, How the Voice Works, Handout ,成人大片 2010
Phillips, Kenneth, Teaching Kids to Sing Riggs, Seth Singing for the Stars, Van Nuys CA,Alfred Publishing 1998
Stone, R and J, Atlas of Skeletal Muscles, Boston, Sydney, McGraw Hill 2001
Vennard, William, Singing the Mechanism and the Technique, New York, Carl Fischer 1967
Wall, Joan et al, International Phonetic Alphabet for Singers, Dallas, Psst Inc.1989
Ward,Christine,Teaching to Learn, Accelerated Learning Institute [NZ]Ltd 2001 ISBN0-473-06314-X [
Warren, Ivor, The Grammar of Singing, London A. Hammond and Co] Wilson FRCS,
Thomas Wind and Voice, Dublin Minim Press 1984

Resources and announcements will be posted on MyUni

The Elder Music Library Music Resources Guide at http://libguides.adelaide.edu.au/music contains quick links to key music databases for scholarly research and online listening. It also contains links to websites of publicly available online scores, collected editions, and professional associations. Here too you can find a regularly updated list of new books, scores, CDs and DVDs available in the Music Selection in the Barr Smith Library.

One-to-one lessons prepare students for intensive and focused individual practice and preparation of instrumental/vocal repertoire and exercises. They also allow for assessment of progress made since the previous lesson.

Students are also encouraged to explore extended skills and knowledge through attendance at and participation in master classes, workshops and concerts as appropriate.

The information below is provided as a guide to assist students in engaging appropriately with the course requirements.

1 hour 1:1 lesson per week (over 12 weeks) 12 hours per semester
Attendance of Performance Forums, masterclasses, rehearsals, concerts, observation of lessons. 48 hours per Semester

Research, reflection and writing: 2 hours per week 24 hours per Semester
Private practice and rehearsals for Recital: 19 hours per week (minimum) 228 hours per Semester
TOTAL HOURS: 312 hours per Semester

1:1 lessons/ Attendance of Performance Forum, observation of lessons, concerts, masterclasses, rehearsals.

A DCSI clearance is required to work in schools: please discuss with your course coordinator.

25-minute recital Summative and Formative 60% 1,2,3, 4, 5
Program Notes Summative and Formative 10% 2, 5, 6, 7
Reflective Journal Log Summative and Formative 30% 1-8

PREPARATION, PRACTICE AND REPERTOIRE EXPECTATIONS
Students are expected to practise all repertoire, technical exercises and other material assigned by their teacher. Careful, consistent and regular practice is assumed. Students are expected to practise at least three+ hours per day.
Students will be assigned technical exercises, etudes/studies, orchestral excerpts (if applicable), unaccompanied pieces and solo repertoire. It is their responsibility to schedule daily practice sessions to accommodate all of the above areas.
LECTURE, TUTORIAL, WORKSHOP OR PRACTICALLY BASED COURSE PARTICIPATION AND ATTENDANCE EXPECTATIONS
Active and positive participation in 100% of required lectures, tutorials, workshops or other practically based courses is expected.

LEAVE
Sick Leave, Compassionate Leave or Professional Development Leave may, upon application using the relevant Leave of Absence form, be approved by the course coordinator or relevant staff member. (See Leave descriptors in the Conservatorium’s Participation and Attendance Policy for details.)

PENALTY Although active and positive participation in 100% of required lectures, tutorials, workshops and practically based classes is expected, any student who attends less than 100% of required classes without approved Leave will receive a 2% penalty for each unapproved absence. The penalties will be applied to the final total percentage mark for the year for the relevant component - ie after all other assessments have been completed and calculated. Arrival after the scheduled starting time or departure before the scheduled finishing time may, at the lecturer or Co-ordinator’s discretion, be regarded as an unapproved absence.
[ Edit Active ]

25-minute recital. For this recital Performance and Pedagogy candidates should select works of pedagogical significance from a stylistic and/or historical perspective. It is expected these will comprise works which encourage developing technical and musical skills at intermediate to advanced levels. 60%

Participants are required to support their performance through the agency of good quality program notes. These must be submitted online using the MyUni Turnitin account (details provided online on MyUni website). 10%

Reflective Journal Log: Students must complete a reflective journal that logs their experiences throughout the Semester. 30%

Recital programs are subject to approval and details must be submitted to the discipline specific Head of Studies well in advance of the recital.

Written components are to be submitted online. Two copies of the program notes should also be supplied at the recital.