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MUSTHEAT 1006 - Music Theatre Production 1B

North Terrace Campus - Semester 2 - 2024

Song Repertoire 1B: This class will continue the study of music theatre through song analysis, acting the song, repertoire exploration, class exercises for the body and the voice, as well as an initial look at both classic and contemporary music theatre style, with an overall emphasis on performance. Semester 1B will focus on repertoire from 1940 ? 1966: The birth of the Golden Age through to the diverging paths of the 60s and the dawn of the Rock `n Roll musical. Ensemble Singing 1B: A combined singing class for all music theatre students focussing on part singing techniques, creating an ensemble sound, speed and accuracy in learning. The class will focus on music theatre repertoire. Songs and Scenes: This class will be an introduction into the process of working with dialogue, songs and choreography and creating an entire performance for public showing. Students will work with an MD, Choreographer and director.

  • General Course Information
    Course Details
    Course Code MUSTHEAT 1006
    Course Music Theatre Production 1B
    Coordinating Unit Elder Conservatorium of Music
    Term Semester 2
    Level Undergraduate
    Location/s North Terrace Campus
    Units 3
    Contact Up to 5 hours per week
    Available for Study Abroad and Exchange N
    Prerequisites MUSTHEAT 1005
    Restrictions Available to BMusTheatre students only
    Assessment Song Repertoire ensemble & solo final presentation (40%), Songs & Scenes rehearsal process & journal (30%), Songs & Scenes performance process (10%), Character analysis & research (10%), Ensemble singing: continuous observations in the classroom (10%)
    Course Staff

    Course Coordinator: Mr George Torbay AM

     Course Coordinator

      George Torbay

      E-mail: george.torbay@adelaide.edu.au

      Phone: 0421 245 665

      Location: Schulz Building (Level 11, Room 11.16)

      Availability: M-F, 0900-1700

     

     Course Tutors

      Craig Behenna

      E-mail: craigbehenna@gmail.com

      Phone: 0402 321 076

      Availability: M, W, Class times only

     

    Carla Centofanti

      E-mail: carla.cento@live.com.au

      Phone: 0403 196 942

      Availability: M, 0900-1300

     

      Martin Cheney

      E-mail: martin.cheney@gmail.com

      Phone: 0422 609 357

      Availability: M-F, 0900-1700

     

      Dr. Terry Crawford

      E-mail: terrycrawford61@gmail.com

      Phone: 0434 331 061

      Availability: Tues 0900 - 1330, Thurs 1330 - 1700, Fri 0900 - 1300

     

      Deanna Farnell

      E-mail: deannafarnell@gmail.com

      Phone: 0424 044 043

      Availability: W 0900 - 1430, F 0900 - 1700

     

      Rosie Hosking

      E-mail: rosie@roomtwo.com.au

      Phone: 0419 822 890

      Availability: T, 1600 - 1800

     

      Erin James

      E-mail: erinjames@icloud.com

      Phone: 0415 352 304

      Availability: F, 1400-1700

     

       Peter Johns

      E-mail: peter.johns@adelaide.edu.au

      Phone: 0408 286 894

      Availability: M-F, 0900-1700

     

      Zoë Komazec

      E-mail: zoe.komazec@gmail.com

      Phone: 0431 418 421

      Availability: Wednesdays 9am - 11:30am

     

      Dale March

      E-mail: dalesimonmarch@gmail.com

      Phone: 0413 221 546

      Availability: Wednesdays 1pm - 6pm, Thursdays 9am - 1pm

     

      Martine Quigley

      E-mail: m@stylestation.com.au

      Phone: 0437 143 153

      Availability: M & W, 0900-1300

     

      Joseph Simons

      E-mail: j.simons@adelaide.edu.au

      Phone: 0432 498 020

      Availability: M-F, 0900-1700

     

      Paul Sinkinson

      E-mail: paul.sinkinson@yahoo.com.au

      Phone: 0413 011 964

      Availability: Tues 0900 - 1330, Thurs 1330 - 1700, Fri 0900 - 1300

     

      Anna Steen

      E-mail: anna.s.steen@gmail.com

      Phone: 0418 863 587

      Availability: Tuesdays 0900 - 1330, Thursdays 1330 - 1700

     

      Roel Vorrbij

      E-mail: voorbijroel@gmail.com

      Phone: 0450 225 231

      Availability: W, F, 1300-1730

     

      Dr. James Whiting

      E-mail: james_whiting@live.com

      Phone: 0417 764 970

      Availability: W, F, 1300-1730

    Course Timetable

    The full timetable of all activities for this course can be accessed from .

  • Learning Outcomes
    Course Learning Outcomes
    1. Demonstrate comprehension of protocol, chain-of-command and etiquette in a professional rehearsal context;
    2. Identify what is required to be a reliable, collaborative and valuable cast member in a musical theatre production;
    3. Learn and retain dialogue, harmonies, staging and choreography between rehearsal periods;
    4. Integrate all skillsets from other modules into a performance;
    5. Appreciate and position aspects of musical theatre in a historical context;
    6. Define the commitment and discipline required of the professional actor and apply teamwork as part of a collaborative creative ensemble;
    7. Demonstrate a sound understanding of vocal health and care, and keys to maintaining optimal function;
    8. Demonstrate positive self-awareness and the ability to self-regulate and maintain their vocal instrument;
    9. Have an improved ability to identify technical problems in singing and possible solutions;
    10. Have an improved ability to articulate and discuss factors in aspects of musical theatre performance, including voice production, song analysis, coaching and musical directing.
    University Graduate Attributes

    This course will provide students with an opportunity to develop the Graduate Attribute(s) specified below:

    University Graduate Attribute Course Learning Outcome(s)

    Attribute 1: Deep discipline knowledge and intellectual breadth

    Graduates have comprehensive knowledge and understanding of their subject area, the ability to engage with different traditions of thought, and the ability to apply their knowledge in practice including in multi-disciplinary or multi-professional contexts.

    1, 2, 3, 4, 5, 6, 7, 8, 9, 10

    Attribute 2: Creative and critical thinking, and problem solving

    Graduates are effective problems-solvers, able to apply critical, creative and evidence-based thinking to conceive innovative responses to future challenges.

    2, 6, 7, 8, 9, 10

    Attribute 3: Teamwork and communication skills

    Graduates convey ideas and information effectively to a range of audiences for a variety of purposes and contribute in a positive and collaborative manner to achieving common goals.

    2, 3, 6, 10

    Attribute 4: Professionalism and leadership readiness

    Graduates engage in professional behaviour and have the potential to be entrepreneurial and take leadership roles in their chosen occupations or careers and communities.

    1, 2, 3, 4, 5, 6, 7, 8, 9, 10

    Attribute 5: Intercultural and ethical competency

    Graduates are responsible and effective global citizens whose personal values and practices are consistent with their roles as responsible members of society.

    1, 2, 5, 10

    Attribute 7: Digital capabilities

    Graduates are well prepared for living, learning and working in a digital society.

    5

    Attribute 8: Self-awareness and emotional intelligence

    Graduates are self-aware and reflective; they are flexible and resilient and have the capacity to accept and give constructive feedback; they act with integrity and take responsibility for their actions.

    1, 2, 6, 10
  • Learning Resources
    Required Resources

    All required readings are available through MyUni. Additional resources will be made available through the library or distributed in class.

    • Alyson McLamore, Musical Theatre: An Appreciation (Routledge, 2016)
    • John Kenrick, Musical Theatre: A History (Bloomsbury, 2017)
    • Barone, OR & Tellis, CM, 2016, Your voice is your business: The science and art of communication, 2nd edn, Plural Publishing Inc, San Diego, California.
    • Gates, Rachael, Forrest, L.Arick and Obert, Kerrie. The Owner’s Manual to the Voice – A Guide for Singers and Other Professional Voice Users. Oxford University Press, 2013
    • Thomas, J. Script Analysis for Actors, Directors, and Designers. Focal Press. 2014. pp xxxi-xli. “Reading Plays”
    • Knowles, R. How Theatre Means. Palgrave. 2014. pp 174-186 “Representation and Recognition” and “The world of the play.”
    • Knopf, R. Script Analysis for Theatre. Bloomsbury Methuen Drama. 2017. 15-16 (The World of the Play)
    • Knopf, R. Script Analysis for Theatre. Bloomsbury Methuen Drama. 2017. pp 149-154 (Action Verbs)
    • Knopf, R. Script Analysis for Theatre. Bloomsbury Methuen Drama. 2017. pp 145-148 (Blueprint)
    • Joe Deer and Rocco Dal Vera, Acting in Musical Theatre: A Comprehensive Course 2nd Edition (Routledge, 2015)
    • Paul Harvard, Acting Through Song: Techniques and Exercises for Musical Theatre Actors (Nick Hern Bookes, 2014)
    Recommended Resources
    1. Rodenburg, Patsy. The Actor Speaks. New York: St. Martin’s Griffin, 2002.
    2. Taylor, Millie and Symonds, Dominic. Studying Musical Theatre, Theory and Practice. London: Palgrave, 2014.
    3. Kenrick, John. Musical Theatre, A History. London: Bloomsbury Academic, 2010.
    4. Green, Stanley. Revised and updated Ginell, Cary. Broadway Musicals, Show-by-Show: Eighth Edition. Minnesota: Applause Theatre & Cinema Books, 2014.
    5. McCoy, Scott. Your Voice: An Inside View 3 – Voice Science & Pedagogy. Scott McCoy & Inside View Press, 2019
    6. Steinhauer, Kimberley, Klimek, Mary McDonald & Estill, Jo. The Estill Voice Model – Theory & Translation. Estill Voice International, 2017 7. Chapman, Janice. L Singing and Teaching Singing – A Holistic Approach to Classical Voice Third Edition. Plural Publishing 2017.
    Online Learning

    All tutorials will be delivered in person, but virtual participation is acceptable for all lecture style sessions.

  • Learning & Teaching Activities
    Learning & Teaching Modes

    All music theatre students must undertake the Music Theatre Production course. It is both a skills-based practical course focussed on the three areas of acting technique, voice production and dance skills, coupled with the theoretical study in each of these areas. This includes key areas of ENSEMBLE SINGING, SONG REPERTOIRE and participation in a fully staged PRODUCTION. As such, all classes are workshop style where attendance is critical for skills development.

    Workload

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

    Ensemble Singing: 1 x 1 hour workshop each week
    Song Repertoire: 1 x 2 hour workshop each week
    Production: 4 x 3 hour workshop each week

    In addition to the listed contact hours per week, It is anticipated that students would spend 6-8 hours per week in preparing for workshops, preparing assignments and undertaking required readings.

    Learning Activities Summary

    Students are expected to maintain 100% attendance at all classes. See below for penalties. Independent Practice Students must prepare and practise all repertoire, technical exercises and other material assigned by their lecturers and arrive for each session fully prepared Class Activity All classes are practically based skill development. It is essential for growth and development that there is active participation at each session.

    Out of Class Activity Acting and Voice will require students to present to the University community a showing of their semester’s work. These showings usually take place in the final week of classes or in Week 13.

    Specific Course Requirements

    Specific dance wear and rehearsal ‘blacks’ will be quired for all classes. Students will be given this information prior to the first class with clear instructions and guidelines.

    All warm up sessions are compulsory.

  • Assessment

    The University's policy on Assessment for Coursework Programs is based on the following four principles:

    1. Assessment must encourage and reinforce learning.
    2. Assessment must enable robust and fair judgements about student performance.
    3. Assessment practices must be fair and equitable to students and give them the opportunity to demonstrate what they have learned.
    4. Assessment must maintain academic standards.

    Assessment Summary
    Assessment Task Task Type Due Weighting
    Production
    1. Rehearsal Technique
    2. Written Task
    3. Production Duty
    4. Performance
    Formative and Summative


    Week 12 
    Week 7
    Week 13
    Week 12

    70%
    Song Repertoire
    1. Weekly Performances
    2. Ensemble Performance
    3. Final Assessment
    Formative and Summative
    Week 12
    Week 7
    Week 12
    30%
    Assessment Related Requirements

    Participation: Active and positive participation in 100% of workshops is expected.

    Students will need to seek approval from the Head of Music Theatre for any absence. This process is clearly explained in the Music Theatre Handbook in MyUni.

    Assessment Detail

    PRODUCTION #1: Weekly Preparation & Rehearsal

    Weighting:

    40%

    Due date:

    Thursday 26 September, 2024

    Task description:

    Instructions:

    In weeks 1-8, you will be rehearsing Jesus Christ Superstar with Director George Torbay, Music Director Paul Sinkinson and Choreographers Zoë Komazec & Alexander Kermond. Aim to be ‘off book’ as early as possible, in order to best utilise your attention for new information including staging, direction and choreography.

    Criteria: You will be assessed on your interpretation of the text in collaboration with the director’s vision, skills, attitude, contribution to text analysis discussions, initiative, attendance, punctuality and reliability as a team member.

    Your ability to retain notes and corrections from rehearsal to rehearsal will contribute to your overall mark, as well as the effectiveness of your physical and vocal warm-up prior to call times.

    PRODUCTION #2: Production Responsibility and Execution

    Weighting:

    20%

    Due date:

    Monday 30 September, 2024

    Task description:

    Instructions:

    Each student involved in the production must complete an assigned production duty as either leader, assistant leader or team member. These include:

    1. Dance Captain/Assistant Dance Captain
    2. Assistant to the Director
    3. Assistant to the Music Director
    4. Assistant to the Production Manager
    5. Stage Management
    6. Costumes
    7. Hair/Make Up
    8. Marketing/Publicity
    9. Properties

    Criteria:

    1. Student attends meetings and demonstrates leadership with plans, schedules, ideas
    2. Student has delivered services to meet production deadlines and demonstrated excellence in execution
    3. Student provides active support to other team members, keeps track of completed tasks, anticipates issues and problems
    4. Student's contribution to bump in or bump out duties is exemplary and they provide leadership to others
    5. Student follows instructions from creative or technical staff with ease and is able to lead others in the completion of tasks
    6. Student provides on stage/backstage/dressing room help and support whenever needed

    PRODUCTION #3: Written Task

    Weighting:

    20%

    Due date:

    11:59pm Friday 6 September (Week 7) via upload to My Uni

    Task description:

    Instructions:

    Instructions:

    Your written component will be comprised of an essay answering one (1) of the questions below:

    In 'Jesus Christ Superstar,' how does the depiction of religious figures like Jesus and Judas challenge traditional notions of religious fanaticism? Analyse the characters' motivations, actions, and conflicts within the context of their religious beliefs.

    OR

    How does the musical 'Jesus Christ Superstar' explore the dangers and consequences of blind devotion and extremism in the name of faith? Be sure to include examples from the libretto.

    OR

    In the musical 'Jesus Christ Superstar,' Andrew Lloyd Webber and Tim Rice wanted Jesus to be depicted as “everyman.” Filled with all the flaws, natural emotions and temptations of every man. Discuss.

    OR

    'Jesus Christ Superstar' is not a musical. Discuss.

     

    Submission deadline: 11:59pm Friday 6 September (Week 7) via upload to My Uni

    Your written task must:

    • Be 1500 words
    • Be referenced - all sources acknowledged correctly using standard APA format

    • Be typed in WORD, double spaced using TIMES NEW ROMAN 12pt. Do NOT upload a PDF – WORD documents only.
    • Contain a bibliography

    For assistance on essay writing go to: /writingcentre/resources/writing-resources

    NOTE: Your essay will be scanned through Turnitin. This is an originality checking plagiarism prevention service that checks your writing for citation mistakes or inappropriate copying.

    PRODUCTION #4: Performance Season

    Weighting:

    20%

    Due date:

    A final performance will be given on Sunday 29 September from 2:00pm in the Scott Theatre

    Task description:

    PLEASE SEE RUBRIC

    Criteria:         

    The ability and flexibility to amalgamate the director’s ideas into the student’s own vision and consolidate the entire rehearsal process into a performance is assessed at the presentation. This performance is viewed by staff, fellow students and the wider ECMT community. Students will be assessed on:

    • Accuracy
    • Consistency
    • The ability to remain true to the rehearsal process
    • Audience engagement
    • Backstage/theatre behaviour
    • Professionalism

    Production Weeks

    Students must attend all technical and dress rehearsals prior to performance. Any student who misses these rehearsals risks the safety of themselves and the ensemble. For this reason, any student who fails to attend these final rehearsals will be unable to participate in performances without the express written permission of the Head of Music Theatre and is at risk of failure of the 1006 course.

    SONG REPERTOIRE #1: Weekly Practical Presentations, Engagement & Inquiry

    Weighting:

    40%

    Week/Date

    Lesson Details and Topics

    Semester Schedule

    Week 1

    Friday 26 July

    Introduction & Overview

    Performances FREE CHOICE (WHOLE CLASS) 

    Any style, any period

    Performance #1

    Reading #1

    Week 2

    Friday 2 August

    Performances 1940 – 1949 (GROUP 1) –

    The Birth of the Golden Age

    Performance #2

    Week 3

    Friday 9 August

    Performances 1940 – 1949 (GROUP 2) –

    The Birth of the Golden Age

     

    Week 4

    Friday 16 August

    Performances 1950 – 1959 (GROUP 1) –

    The Era of Great Musical Dramatists

    Performance #3

    Week 5

    Thursday 23 August

    Performances 1950 – 1959 (GROUP 2) –

    The Era of Great Musical Dramatists

    Reading #2

    Week 6

    Thursday 30 August

    Performances 1960 – 1969 (GROUP 1) –

    The End of Golden Age & Diverging Paths

    Performance #4

    Week 7

    Friday 6 September

    Performances 1960 – 1969 (GROUP 2) –

    The End of Golden Age & Diverging Paths

     

    Week 8

    Friday 13 September

    Performances DUETS/TRIOS

    + make up songs

    Performance #5 Reading #3

    STUDENT BREAK

    Week 9

    Friday 4 October

    Makeup Songs / Workshop week

     

    Week 10

    Friday 11 October

    Performances 1940 – 1969 (GROUP 1) –

    1 SONG traditionally sung by a different gender

    Performance #6

    Reading #4

    Week 11

    Friday 18 October

    Performances 1940 – 1969 (GROUP 2) –

    1 SONG traditionally sung by a different gender

     

    Week 12

    Friday 25 October

    Final Assessment: In-house Performance

    Performance #7

    SONG REPERTOIRE #2: Ensemble Presentation

    Weighting:

    20%

    Due date:

    Friday 13 September, 2024

    Task description:

    Instructions:

    You will present a group devised (Duet or Trio) performance of a piece of the group's choosing. All staging and preparation is self-devised. This will presented to the class.

     

    SONG REPERTOIRE #3: Final Presentation

    Weighting:

    40%

    Due date:

    A final in-house performance will be given on Friday 25 October from 4:00pm

    Task description:

    Instructions:

    You will select TWO songs of your choice. Both must be songs that you have NOT sung before in class. Each song must not exceed 90 seconds. Total performance time on stage must not exceed 4 minutes.

    Song #1 – 1940 to 1955

    Song #2 – 1956 to 1969

     

    Submission

    ALL MUSIC THEATRE ASSESSMENTS INCUR A 10% PER DAY PENALTY FOR LATE SUBMISSIONS. Extensions are only granted prior to the assessment due date.

    Late assignment policy: Extensions are only granted when supporting documentation can be provided and then, and only then, by arrangement with the course lecturer prior to the due date and time. Extensions will not be granted under any other circumstance. Assessed work that is submitted late (after the due date and time) will not be examined for assessment or feedback. In the case of illness this will require a medical certificate, and in the case of personal (non-medical) circumstances you will need a letter of support from a University Student Counsellor. For further information please refer to the following website: http://www.adelaide.edu.au/counselling_centre/

    Course Grading

    Grades for your performance in this course will be awarded in accordance with the following scheme:

    M10 (Coursework Mark Scheme)
    Grade Mark Description
    FNS   Fail No Submission
    F 1-49 Fail
    P 50-64 Pass
    C 65-74 Credit
    D 75-84 Distinction
    HD 85-100 High Distinction
    CN   Continuing
    NFE   No Formal Examination
    RP   Result Pending

    Further details of the grades/results can be obtained from Examinations.

    Grade Descriptors are available which provide a general guide to the standard of work that is expected at each grade level. More information at Assessment for Coursework Programs.

    Final results for this course will be made available through .

  • Student Feedback

    The University places a high priority on approaches to learning and teaching that enhance the student experience. Feedback is sought from students in a variety of ways including on-going engagement with staff, the use of online discussion boards and the use of Student Experience of Learning and Teaching (SELT) surveys as well as GOS surveys and Program reviews.

    SELTs are an important source of information to inform individual teaching practice, decisions about teaching duties, and course and program curriculum design. They enable the University to assess how effectively its learning environments and teaching practices facilitate student engagement and learning outcomes. Under the current SELT Policy (http://www.adelaide.edu.au/policies/101/) course SELTs are mandated and must be conducted at the conclusion of each term/semester/trimester for every course offering. Feedback on issues raised through course SELT surveys is made available to enrolled students through various resources (e.g. MyUni). In addition aggregated course SELT data is available.

  • Student Support
  • Policies & Guidelines
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    Students are reminded that in order to maintain the academic integrity of all programs and courses, the university has a zero-tolerance approach to students offering money or significant value goods or services to any staff member who is involved in their teaching or assessment. Students offering lecturers or tutors or professional staff anything more than a small token of appreciation is totally unacceptable, in any circumstances. Staff members are obliged to report all such incidents to their supervisor/manager, who will refer them for action under the university's student鈥檚 disciplinary procedures.

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