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完成時間大約為21 小時

建議:20-25 hours of lectures and exams...

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100% 在線

立即開始,按照自己的計劃學習。

可靈活調整截止日期

根據您的日程表重置截止日期。

完成時間大約為21 小時

建議:20-25 hours of lectures and exams...

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教學大綱 - 您將從這門課程中學到什麼

1
完成時間為 3 小時

An Introduction to Rehearsing

This week, Module 1, we’ll discuss basic philosophical issues such as: What we do in rehearsals, what skills are needed, and the idea of the conductor as “the composer’s advocate.” I will also introduce the concept of Macro-Micro-Macro, which serves as the overarching principle of rehearsals. Then we will move on to basic conducting technique....
21 個視頻 (總計 167 分鐘), 1 個測驗
21 個視頻
What Do We Do in Rehearsals?9分鐘
What Skills Do We Need?3分鐘
Calibrating Your Ears6分鐘
Serving as the Composer’s Advocate15分鐘
A Choral Perspective: The Rehearsal Process4分鐘
An Orchestral Perspective: Three Categories of Conducting11分鐘
Introduction to Conducting5分鐘
Basic Set-Up5分鐘
Conducting without a Baton5分鐘
Baton Grip5分鐘
Basic Patterns21分鐘
Active and Passive Beats6分鐘
Starting Pieces8分鐘
Ending Pieces6分鐘
The Ensembles that Appear in this Course1分鐘
Macro-Micro-Macro: The Basic Process5分鐘
Examples of Macro-Micro-Macro: Breaking Things Down7分鐘
A Choral Perspective: Teaching Notes8分鐘
Rehearsal Demos: Macro-Micro-Macro24分鐘
Conclusion52
1 個練習
Module 1 Quiz20分鐘
2
完成時間為 2 小時

Communicating with the Ensemble

Module 2 begins with a discussion about repertoire: how to define quality music and how to choose a balanced, musically nourishing program. Building on the topics of Module 1, this week’s conducting technique videos focus on the grammar for starting and stopping pieces. In the rehearsal technique videos, the overarching topic is how to communicate with the ensemble to convey musical intent. Essentially, the idea is to give musical instruction, but there are a range of strategies we must master to be effective in all situations.This week introduces those strategies and organizes them according to modes of instruction, including performance technique, adjectives, analogy, and modeling....
17 個視頻 (總計 114 分鐘), 1 個測驗
17 個視頻
Finding Quality9分鐘
Choosing Repertoire: The Musical Meal6分鐘
A Choral and Orchestral Perspective: Repertoire24分鐘
Count-offs: Additional Ways to Begin a Piece4分鐘
Rehearsal Examples: Starting on Various Beats within a Measure4分鐘
Stopping the Group3分鐘
Changing the Size of the Pattern Based on the Music5分鐘
Introduction to Rehearsal Segments39
Directing People's Attention in Rehearsal3分鐘
Who, Where, What / Measure Numbers / "Count with Me"6分鐘
Using "I" and "We"5分鐘
Insisting on What You Want2分鐘
Strategies for Communicating Musical Ideas9分鐘
Communicating with Various Modes of Instruction9分鐘
A Choral and Orchestral Perspective (Multiple Topics)14分鐘
Conclusion1分鐘
1 個練習
Module 2 Quiz20分鐘
3
完成時間為 5 小時

Introducing the Rehearsal Toolkit

Week 3’s material begins with more left hand technique, expanding on the concepts introduced in Module 2 and continuing with gestures to show dynamics. The section on rehearsal technique begins with an explanation of the ‘Rehearsal Toolkit,” a collection of ideas, or “tools,” each designed to fix a musical issue. Rehearsal tools are meant to supplement the modes of instruction that were discussed last week. In other words, in addition to using direct vocabulary, modeling, and metaphor and analogy, these tools can elicit musical responses when gesture and words fail. A caveat: all of these approaches depend on the musicians having the technique required to perform the repertoire. This may seem obvious, but the fanciest baton twirl and colorful analogy are meaningless to help, say, a trumpeter, perform staccato if he does not tongue properly and employ good embouchure. Fundamentals must be taught, either in or out of the rehearsal, and the appropriate method depends on the level and age of the musician in the ensemble.Module 3 concludes with multi-purpose tools, including singing and “bopping.” These are the Swiss-Army knives of rehearsal technique, each useful for a variety of issues, from articulation to balance to rhythm. As you acquire the tools discussed in this module, also consider what else you can put in your toolbox. What techniques do you currently use? What tools can you borrow from other musicians? The more options we have in rehearsal the more likely we will be to solve a musical problem....
25 個視頻 (總計 183 分鐘), 2 個測驗
25 個視頻
Introduction to Left Hand Technique: Statue and Mirroring4分鐘
More Left Hand Technique: Statue, Mirroring, and Independence6分鐘
Demos of the Left Hand in Rehearsal1分鐘
Showing Dynamics and Dynamic Changes12分鐘
The Importance of Technique as a Foundation4分鐘
The Rehearsal Toolkit: Rhythm1分鐘
Teaching Subdivision: Filling in the Rests3分鐘
Thinking in Rhythmic Subdivisions12分鐘
“Playing” without Sound: Active Resting and Handoffs8分鐘
Working with Contrasting Rhythmic Layers5分鐘
Cleaning Up Sloppy Entrances2分鐘
Rests as Elements of Expression2分鐘
Rushing6分鐘
Meter, Accents, and Perception10分鐘
Rhythmic Compression5分鐘
A Choral and Orchestral Perspective: Rhythm16分鐘
Multi-Purpose Techniques4分鐘
Rehearsal Demos: Bopping Part I11分鐘
Rehearsal Demos: Bopping Part II7分鐘
Rehearsal Demos: Using Singing7分鐘
Rehearsal Demos: Slowing Down the Tempo for Rhythm and Accuracy21分鐘
Rehearsal Demos: Slowing Down the Tempo for Intonation and Balance7分鐘
Rehearsal Demos: Slowing Down the Tempo for Articulation and Style14分鐘
Conclusion1分鐘
1 個練習
Module 3 Quiz20分鐘
4
完成時間為 5 小時

Articulation, Balance, and Tone

Module 4 begins with perhaps the most crucial task a conductor undertakes: score study. Score study is the umbrella term for the process of thoroughly learning a score-- not just knowing how to sing the melody or memorizing phrases and meters--but learning every aspect of the music that may come to bear on our ability to interpret, conduct, rehearse, and perform it. Unlike many grammatical aspects of conducting, score study is a time-consuming, immersive activity for which it is normal to develop one’s own process, assuming the end result is a deep understanding of the work. After score study, Module 4 moves back to the grammar of conducting, particularly technique for conducting articulations. Please note that this week also contains a very brief introduction to the three types of fermatas. In Module 5 we’ll cover them in detail. These are topics for which regular practice and self-evaluation will be necessary to develop gestures that are clear to the ensemble and second-nature to the conductor. Finally, we will return to “The Rehearsal Toolkit” and explore strategies for rehearsing articulation, balance, and tone. This final topic includes a video on using the piano to demonstrate harmonies and other musical features to the ensemble. Particularly in educational settings, it is important for the conductor to do more than treat the ensemble as his personal musical instrument. Instead, find opportunities to lead ensembles to an understanding of the music it is performing, a goal that only score study makes possible....
28 個視頻 (總計 273 分鐘), 1 個測驗
28 個視頻
Score Study22分鐘
Applying Your Score Study8分鐘
A Choral and Orchestral Perspective: Score Study23分鐘
Applying Score Study to a Rehearsal26分鐘
Cues14分鐘
Conducting Articulations: Legato7分鐘
Conducting Articulations: Two Variations on Legato2分鐘
Conducting Articulations: Staccato and Accents8分鐘
Conducting Fermatas and Rubato2分鐘
Specific Choral Conducting Techniques16分鐘
Specific String Conducting Techniques7分鐘
Review: Two Themes of the Course3分鐘
Exaggerating Style and Expressive Details5分鐘
The Vocabulary of Articulation10分鐘
Articulation: Accentuation through Emphasis and De-Emphasis3分鐘
Bopping for Articulation1分鐘
Developing a Legato Style4分鐘
19th-Century Style with 21st-Century Ensembles8分鐘
Additional Articulation Techniques10分鐘
A Choral Perspective: Articulation and Diction11分鐘
An Orchestral Perspective: String Articulation and Bowing16分鐘
Balance and Tone16分鐘
A Choral & Orchestral Perspective: Balance and Tone21分鐘
Working with Dissonance3分鐘
Using the Piano to Demonstrate Complex Harmonies7分鐘
Where to Begin When You Don’t Know Where to Begin8分鐘
Conclusion47
1 個練習
Module 4 Quiz20分鐘
4.8
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創建者 SSSep 11th 2017

This was an interesting and very useful course. Directors responsible for rehearsing ensembles will enjoy learning techniques, and even experienced conductors will benefit from revision and sharing.

創建者 TBAug 28th 2015

This is a great course and also flexible to needs of students. If you get behind, the course is built to help you get back on track. I find this extremely helpful with a busy and irregular schedule.

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Dr. Evan Feldman

Associate Professor & Wind Ensemble Conductor
Music

關於 北卡罗莱纳大学教堂山分校

The University of North Carolina at Chapel Hill, the nation’s first public university, is known around the world for innovative teaching and research. Regularly ranked as the nation’s best value for academic quality, UNC has produced the most Rhodes Scholars for the past 25 years among U.S. public research universities....

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