PA-Musical Theatre March 2009

UNDERGRADUATE STUDIES

PROGRAMME HANDBOOK –FACULTY OF PERFORMING ARTS

MUSICAL THEATRE

ALL RIGHTS RESERVED. © 2004, 2009.THIS DOCUMENT AND ITS CONTENTS ARE THE PROPERTY OF LASALLE COLLEGE OF THE ARTS, 1 MCNALLY STREET, SINGAPORE 187940.

UNAUTHORISED USE IS PROHIBITED. ANY BREACH OF COPYRIGHT WILL BE SUBJECT TO PROSECUTION.THE PROGRAMME HAS BEEN DESIGNED AND DEVELOPED BY LASALLE COLLEGE OF THE ARTS IN 2004.THE PROGRAMME HAS BEEN VALIDATED BY THE OPEN UNIVERSITY ON 5 TO 7 MAY 2004, AND REVALIDATED ON 25 AND 26 MARCH 2009.

• Programme Information

• Module Descriptions and Reading Lists

• Supplementary Information / Appendices• Appendix I — Information on How the Programme is Managed• Appendix II — Academic Structure and the Credit System• Appendix III — Examples of Assessment Forms

• Academic RegulationsThe Academic Regulations Section is a separate document that is available on the Learning Portal.

• Assessment Information and Guidance

Note: Each section has its own contents page.

OVERVIEW OF CONTENTS

• From the President — 2• From the Dean — 3• About this Handbook — 4• Introduction to the Programme — 6• Programme Structure — 10• Programme Design, Content & Organisation — 11• Personal Professional Development — 18• Summary of Hours & Credits — 20• The Learning Outcomes — 22

seCtiOn COntents

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This handbook will tell you lots of useful things about studying on the performing arts programmes of LASALLE, but it will not tell you everything you need to know.The programmes of your faculty are sometimes consciously experimental whilst at other times they focus on the acquisition of skills for your future career. They are however always challenging and at the contemporary edge of creative performance, and this is because they thrive within a College that values today’s concepts of creativity across all its faculties and programmes whilst it debates and starts to sketch tomorrow’s notions of Art. One of the inputs into your programme will be an appreciation of different artistic traditions originating from different parts of the world. You will be encouraged to enrich your concepts of creativity with these divergent ideas and practices.

Another reason why you will find LASALLE such a stimulating college in which to study is that your programme sits along side others from radically different artistic traditions and disciplines but whose students are all examining the same concepts that you grapple with. Talk with them, work with them, learn from their different perspectives, experiment together and you will uncover secrets not only of your art but also of you.

Professor Alastair PearcePresidentLASALLE College of the Arts

frOm the President

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Congratulations on being accepted into a programme in the Faculty of Performing arts at LASALLE. Your presence here means that your abilities and potential are already of a standard that singles you out as an artist of the future.

You will meet many exciting challenges and will also face a deal of criticism aimed at improving your work. It is important that you remember that, by your very selection into our programme, we already think you are special - even when we are making more demands of you.

frOm the dean

Our Faculty’s teachers are amongst the most respected international professionals and are here to influence future directions in the performing arts by developing the practitioners and leaders of tomorrow. They expect from you the highest application and preparation. A vocational course differs from other tertiary studies in that you are a valued member of a company and all inter-dependent. You will learn as much from experiencing the progress of others as you will from the teaching itself. lf you concentrate, work hard and contribute, you will grow in skills, creativity and knowledge.

The Performing Arts are the most collaborative of arts forms and involve physical skills that are varied and exhilarating. Students in Dance, Music, Acting, Musical Theatre, Technical Theatre and Performance Studies become part of a community of emerging artists. Here you will meet many of your future collaborators and together will explore and interpret much of the world’s greatest art. You will also be encouraged to be creative artists and express your ideas and feelings in professional ways so you can contribute to society and be employed anywhere in the world.

Aubrey Mellor OAMDeanFaculty of Performing Arts

/ 4PROGRAMME INFORMATION

abOut this handbOOk

The Student Handbook is designed to give you information and guidance about the programme you are studying and the academic and organisational framework in which it is delivered.

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The Handbook is divided into the following sections:

• A — Programme Information• B — Assessment Information and Guidance• C — Module Descriptions and Reading Lists

• Appendix I — Information on How the Programme is Managed

• Appendix II — Academic Structure and the Credit System

• Appendix III — Examples of Assessment Forms

• Academic Regulations

The College website has extensive additional Information including:

• The College Health and Safety Policy• The Open University Student Appeals

Procedures• The College Equal Opportunities Policy• Placement Learning Procedures• Accreditation of Prior Learning Procedures

The programme you have joined is validated by the Open University Validation Services (OUVS). The OUVS is part of the Open University, a large and prestigious higher education institution based in the United Kingdom. LASALLE College as a whole is accredited by the OUVS, which means that the institution is recognised as being competent to deliver education at both undergraduate and postgraduate levels. The College is required to meet exacting educational standards and comply with rigorous codes of practice in such areas as quality assurance, admissions, assessment and curriculum design.

The Handbook uses the term ‘programme’ in the singular. However, you should note that there are two exit (graduation) points available - the Diploma of Higher Education after two years and the Bachelor Degree with Honours after three years.

While we have tried to set out the information as clearly and straightforwardly as possible, the material contained in the Handbook is necessarily complex and much of it has to be expressed in formal, academic language. It is possible that the Handbook might raise many questions and it is therefore vital that you seek advice and guidance on anything you do not understand. Your programme tutors will also be explaining the content of this Handbook to you in greater detail as the programme progresses. You will hear the terms ‘autonomous learner’ and ‘reflective practitioner’, being used to describe the College’s expectation of its students. Both terms describe the approach that you will be encouraged to take with both your studies and your practice. You will be expected to take a significant amount of responsibility for your own learning, to find your own voice and to develop your own strategies for tackling the work required of you. This vital process in developing your professional practice as an artist will be based on your ability to be analytical, critical and objective about your work.

You will find that reviewing and reflecting on your practice, plays an important part in the learning strategies used at LASALLE. Similarly, the programme team, with your input, are regularly reviewing the programme itself to ensure that it meets the high standards expected of it. This means that the programme is being regularly updated and revised. So, whilst the information in the Handbook is as accurate as possible, it is subject to change. Please make sure that you update your Handbook if revisions are published.


intrOduCtiOn tO the PrOgramme

LASALLE—Why Study Arts?

Throughout its twenty-year history, LASALLE College of the Arts has maintained a determined approach to arts education and training based on a learning environment which reflects the collaborative and interactive processes inherent in artistic practice.

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Crucially, the College has developed this educational strategy from and within a practice-based vocational context. The specialisms in key areas of art, design and performing arts are offered as discrete, but implicitly collaborative, entities. In addition, a comprehensive revision of the academic infrastructure has been informed by a close analysis of the prevailing circumstances of local, regional and global professional environments, with particular emphasis on ensuring that the academic provision is responsive to national agendas aimed at positioning Singapore as a creative and educational hub for the region.

A number of important factors continue to exert a profound effect on creative industries and communities in the 21st Century. Even in what can be described as the emerging artistic community of Singapore performing arts, a variety of global issues have influenced the performing arts as a working environment. For example, increasing pressure from other forms of cultural and entertainment media have had the effect of changing the way that theatre practitioners engage in, and are engaged by, theatre companies. Major investment in developing infrastructure and the growth of small, independent companies, often formed to pursue highly-focused creative objectives are flourishing and receive important support from, the National Arts Council and others. Organisations such as the Fun Stage, the Necessary Stage, TheatreWorks, Toy Factory, and Wild Rice are providing opportunities for young, independent and above all flexible practitioners, while a small but influential group of freelance artists is also making stimulating contributions


However all this technical wizardry would be an empty vessel without a key component – the performer. And these performers have to have their own brand of wizardry. The demands of the contemporary musical theatre performer require that they sing, dance and act with equal measure and be adaptable to the ever-changing styles within this world. Producers are seeking performers that are not only highly trained in these skills but are sensitive and creative contributors to a wide range of theatrical ventures.

Musical Theatre and the Musical Theatre Artist

The world of musical theatre is a diverse one. In all corners of the globe there are new musical theatre works being conceived by local creative and production teams that are resonating with audiences of that particular area. These works range in size and ambition and grow organically through ideas of the writing teams, are given a particular meaning by each of the performers, are brought alive by directors, choreographers, designers and musicians and are ultimately accepted or rejected by the audience to which they are played. These productions may be very simply staged but somewhere there are teams of creative people always trying to move the genre forward.

There are also hundreds of international touring productions of blockbuster hits that provide long-term employment to another new generation of touring musical theatre ‘families’. Every week it seems a new city in the world is added to the ‘touring circuit’ and another new audience is found for the popular musical theatre genre. Productions originally conceived for a WestEnd or Broadway audience are being translated into many different languages and the thrill of attending live theatre is reaching a more diverse international audience than ever imaginable 50 years ago. Technical advances in set construction, lighting and sound design often make these productions spectacles within themselves.

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Introduction to the Programme

The Bachelor of Arts (Hons) Musical Theatre degree, the first of it’s kind in the Asian region, is a performance-based course designed to prepare the student for professional careers in not only musical theatre, but plays, cabaret, film and TV. The uniqueness of the course is that it is a heavily skills based degree guiding the student into the competitive performance arena but is also has an honors component at the final level where the student develops the more academic skill of individual research. This comprehensive course is based on the techniques of Singing, Acting, Dancing and Music Skills. In addition to classes, you will work on a series of workshops and productions of existing and original works. In the first year of the course there is a series of in-house classroom presentations demonstrating the skills explored within the learning modules. The 2nd year introduces the student to the theatrical environment in a series of presentations in the smaller theatre spaces on the LASALLE campus. Level 2 students are also cast in ensemble roles in the Graduate productions delivered by the students at the 3rd level. The final year offers fully staged public performances of musicals, at a professional standard in the new theatre complex of the New City Campus of LASALLE.

Group classes in music and dance are streamed so the student sits comfortably within the skill level and is able to meet the challenges necessary for progressive development. Singing is taught in private weekly lessons by an expert in this area therefore tailoring this component to individual development.

Lecturing staff, directors, choreographers and visiting international artists are drawn from the established theatre industries of UK, Australia, USA and from Asia to provide you with a truly exciting opportunity for cross cultural learning experience. Many of these visiting artists are leading industry professionals bringing with them the credentials and expectations of a vibrant and competitive professional atmosphere that is then placed within the already existing student environment.

The course is such that the classes attended in the morning are in an environment that enables you to learn skills and take risks. This is then complemented in the afternoon by the edge of professional atmosphere that is created in the rehearsal room when preparing for a public performance production.

The Bachelor of Arts (Hons) Musical Theatre programme is a three-year full-time course to be conducted at LASALLE and conferred by the Open University, UK, with a world-class reputation for high quality education.

• •The programme prepares students for the following careers: Performer for Musical Theatre, Cabaret, TV and Film. It may also be a springboard to lead to such careers as Choreographer, Educator, Musical Director, Theatre Director, Composer, Playwright, Producer, Vocal Arranger and Vocal Coach.

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PrOgramme struCture

Aims and Objectives

The following list outlines what the programme is designed to achieve. Some aspects relate specifically to the subject you are studying while others are common to all students studying at this level. The programme aims to:

• Offer a musical theatre course of the highest international standards.

• Offer training in the essential technical skills and working vocabularies of the multi disciplined performer in order to enable students to realise their professional and artistic goals in multiple disciplines

• Provide students with knowledge and understanding of musical theatre in its cultural and historical context

• Introduce students to a range of research and practice methodologies

• Enable students to develop a range of analytic, reflective and communicative skills in order to become articulate and reflective practitioners

• Introduce students to the work of key practitioners and theorists and to their cultural and historical contexts

• Promote an awareness and understanding of musical theatre as an interdisciplinary art form

• Empower students to collaborate effectively within a group and with other practitioners

• Foster independent learning and a range of transferable study skills

• Equip students with an understanding and training that will enable them to make worthwhile contributions to current professional practice and to the development of musical theatre for the world stage.`

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The programme is divided into three levels, which correspond to each academic year of the programme. The academic year is divided into two semesters of fifteen weeks each.

Each level is taught through a series of modules and each module has a credit value. In order to progress to the next level, you are required to attain 120 credits. If credit systems and modular structures are new to you, please read Appendix II of this section for guidance.

PrOgramme design, COntent & OrganisatiOn


PROGRAMME SUMMARY / LEVEL 1

Semester Code Module Credits

1 & 2 PA1200 Singing 1 15

PA1201 Music 1 15

PA1202 Dance 1 30

PA1203 Acting 1 30

PA1204 Academic Studies 1 10

PA1205 Performance 1 20

Level One concentrates on assisting you to develop and understand the need for a secure technical and knowledge base for all aspects of your life as a performer. Classes set the foundations for both physical and intellectual learning and a series of workshops and presentations will assist in the process of integrating the technical work into a performance.

At the end of Level 1, the successful student will embody an understanding of:

• the foundations of contemporary and classical acting practices;

• a concept of ‘truth’ in performance, individuality and authenticity;

• the contexts from which various significant schools of thought about performance arise;

• understand the technical fundamentals required to sustain the health of the singing voice

• the foundations required for career-sustaining use of the body and voice;

• the various dancing styles most commonly used in contemporary musical theatre

• his or her own body, its expressive strengths and challenges;

• the relationship between the body, voice and mind;

• a commitment to a life as a musical theatre performer, and the disciplines inherent in that commitment.

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MODULE DESCRIPTIONSSinging 1

A weekly one-hour private singing lesson is provided to secure personal basic technique and an understanding of technique, range and vocal health. A weekly Song Repertoire class introduces the song material from the great writers of musical theatre and assists you in building a vocal repertoire in context. A reflective journal documenting the understanding of the techniques and repertoire being studied is also included in this module.

Acting 1

This module lays the foundation and understanding of the creation of an acting technique, which will constitute your personal methodology in the creation of a secure performance. Improvisation classes will explore the freeing of imagination and the elimination of emotional blocks. The speaking voice and its care are addressed along with an understanding of body movement for the actor. A series of writing tasks are also undertaken in this module to explore the various methodologies of acting techniques.

Dance 1

Classical, Jazz, Tap and Production Song & Dance are studied in weekly classes. Technical work and dance terminology are built throughout the year to form a fundamental structure for further study.

Music 1 This module includes classes in basic Piano Keyboard, Aural and Music Theory. These skills will assist you in independent and accurate learning of musical repertoire.

Academic Studies 1

You are introduced to an overview of World Theatre, which will enable the later exploration of a variety of stylistic tools for performance. In Dramatic Literature classes, the important works of theatre are explored and analyzed to give an introduction to the international great plays and playwrights.

Performance 1

You will participate in a series of rehearsals, workshops and classroom presentations that allows you to begin establishing a methodology for the rehearsal and performance process. Each project is also documented and analysed in a reflective journal. This module begins your challenge to integrate the skills and knowledge addressed in the previous modules.




1 & 2 PA2200 Singing 2 15

PA2201 Music 2 15

PA2202 Dance 2 20

PA2203 Acting 2 20

PA2204 Academic Studies 2 10

1 PA2205 Performance 2A 20

2 PA2206 Performance 2B 20

Level 2 builds on the newly acquired skills and moves forward with more challenging practical and academic work. The ability to process and integrate the class work into the performance is a requirement of level 2. The production programme becomes more intense with larger production values added to the public performances.

At the end of Level 2, successful students will consistently embody all of the principles and practices held to be core throughout Level 1. They also demonstrate an understanding of how to:

• make choices about the techniques and approaches required of a specific project;

• analyse the external and internal details of character;

• shape a song using the principles taught in both music, acting and singing modules

• deal with text and render meaning from it;• begin to build a repertoire suited to their voice

type and demonstrate performing in the various contrasting musical theatre styles

• build on techniques already established to further progress in all forms of dance

• write meaningfully and effectively in a theatrical academic context;

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MODULE DESCRIPTIONS Singing 2

Singing lessons, vocal health and technique are further developed to include an understanding of a variety of singing styles. This then connects in context with the Song Repertoire class, which continues exploring the vocal material. A reflective journal is also kept to document the vocal progress and understanding.

Dance 2

The technical basics begun in Level 1 are expanded to further develop the skill range as well as establishing a greater understanding of style. The ability to process choreographic combinations in a more rapid and concise manner is also addressed

Acting 2

The aspects of building character and the introduction of a greater variety of methods and styles add to the Level 1 basics. Improvisation will also move into areas such as mask work and non-verbal performance. Voice work introduces more details of the physiology of the instrument and movement becomes more integrated with practical work.

A written assignment is undertaken during the first semester.

Music 2

Theoretical and practical experience in Music Theory, Aural and Piano Keyboard continues to develop the music skills needed by musical theatre performers.

Academic Studies 2

The Musical Theatre History component gives a greater understanding of the genre’s development by tracing the stylistic, technical and dramatic changes over time. You are also required to develop analytic skills through confronting more challenging works in the Dramatic Literature component

Performance 2A

This semester engages you in a continuous rehearsal and Performance programme. These public performances offer productions in a variety of styles and an increasingly complex level and will introduce you to the added aspects of theatrical environment. Throughout each semester, casting will offer each student the opportunity to experience leading roles as well as ensemble work.

Performance 2B

The Performance programme continues with the opportunity for you to build on your ever-increasing technical, stylistic and performance vocabulary and should provide the experience of maintaining a performance throughout the scheduled season.




1 & 2 PA3201 Performance Skills 40

PA3202 Performance Research 15

PA3203 Career Management 5

1 PA3204 Performance 3A 30

2 PA3205 Performance 3B 30

Daily classes in performance skills continue and are followed by a detailed rehearsal process to support a rigorous production programme. You will create a document on the research of an individually chosen topic. To assist in career management, a series of lectures will provide important tools for a future career in the arts.

`At the end of Level 3, successful students consistently embody all of the principles and practices held to be core throughout the course. They will have an understanding of the physical and vocal requirements to sustain a career as a musical theatre performer. Graduates of the course will be equipped to work as actors in a variety of theatrical media contexts, and lead an artistic life of personal and professional integrity.

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MODULE DESCRIPTIONSPerformance Skills

• Singing A Weekly private singing lesson and group repertoire class are continued at the 3rd level. An end-of-year singing recital will be scheduled to demonstrate the versatility of technique and repertoire demanded by the contemporary musical theatre singer.

• Acting Building on the acting techniques explored in the previous levels, an acting class in the preparation of audition monologues and scene work is implemented at the 3rd level. A weekly acting class will be introduced catering to the specific needs of the film/TV performer.

• Dance Classical, Jazz, Tap and Production Song & Dance classes are continued on a weekly basis with a greater level of technical proficiency expected. Simulated dance auditions are scheduled to test the ability of the student at a professional level.

Performance Research

Students select a topic of research and develop it through qualitative and quantitative research. This module represents the culmination of the students’ critical reflection on performance practices and gives them an opportunity to undertake a sustained piece of independent work. The student may choose to have a performance component within this project.

Career Management

This module is the student’s link to the professional world of the performing arts, performance work and creation. Career Management addresses the need to understand the role of the agent, professional contracts, and promotion assisting students to undertake control of their own career.

Performance 3A / Performance 3B

The 3rd level gives the opportunity to integrate all the skills learned over the previous years Casting will continue to offer both major and minor roles, in a variety of productions. It is required that all students function at the very highest professional industry standards in areas such as punctuality, skills, work methods and company behaviour. The final production of the course is a Showcase to which leading international and Singaporean agents, directors and casting agents are invited. These two final-year Performance modules require performers who will, at graduation, move into the industry with the training and skills that will enable them to take their place alongside the very finest professionals.


A regular time is not allocated into the timetable for PPD. However, it is woven into the general fabric of the programme and is aligned with the college policy on PPD.

PersOnal PrOfessiOnal develOPment

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At all levels Auditions have been implemented into the programme for all performance projects Feedback is then given on the audition process by the creative team for each project and each student in his or her project journals then records this. During the Orientation Week just prior to the beginning of the academic year the Programme Leader holds discussions with the incoming students on time management, working as a team, performance anxiety, personal effectiveness, diet and fitness.

During the 1st week of semester the academic teachers in the Academic Studies module hold a session on academic writing, research skills and seminar presentation skills.

Vocal workshops and masterclasses are held throughout the year where vocal issues can be demonstrated and discussed. How personal development effects vocal development is discussed in these workshops.

At Level 2 Audition and interview technique is discussed as part of the Song Repertoire componentThe Career Management module includes sponsorship and funding applications, preparing a CV, letter writing, alternative support careers for actors, artist contracts and intellectual property, work permit processors in UK, USA & Australia. The Programme Leader also provides contacts details of agents and casting directors in all these centres.

An international industry professional is invited to the Graduation Showcase at the end of every academic year. This provides an important bridge from the college to the industry for many of the graduating students. Local Singaporean producers and directors are also invited to graduating productions.


The following table shows the breakdown of hours and credits for each module. Please note that this information is given as a guide, and the precise disposition of hours between sub-headings may change according to the needs of individual students and particular years/groups of students. However, the total allowance and credit remain constant.

summary Of hOurs & Credits

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Credit Module Classroom Work Rehearsals & Workshops Writing Private Study Total

15 PA1200 52 18 80 150

15 PA1201 72 20 58 150

30 PA1202 200 100 300

30 PA1203 242 12 46 300

10 PA1204 72 20 8 100

20 PA1205 170 10 20 200

LEVEL 1

LEVEL 2

LEVEL 3


15 PA2200 52 18 80 150

15 PA2201 72 20 58 150

20 PA2202 150 50 200

20 PA2203 160 10 30 200

10 PA2204 72 20 8 100

20 PA2205 170 10 20 200

20 PA2206 170 10 20 200


40 PA3201 360 40 400

15 PA3202 28 70 52 150

5 PA3203 30 10 10 50

30 PA3204 260 10 30 300

30 PA3205 260 10 30 300


the learning OutCOmes

It is important that the programme defines what each student is expected to learn – what they will know and understand about the subject, the skills acquired and what they will know about themselves as they progress through the programme. The following lists set out the expected learning outcomes.

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This acts as a learning checklist and you will notice that each of the module descriptions found in Section C of this document contains one or more of the outcomes listed below. In addition, the chart on the next page tabulates each of the learning outcomes against the list of modules to show where each of the outcomes is delivered through the teaching (shaded squares), and where they are assessed (squares with a “•”).

Knowledge and Understanding

On successful completion of this programme, a graduate will demonstrate:

• A1 — an understanding and command of the appropriate physical, vocal and performance skills

• A2 — an understanding of the interplay between theory and practice within performance work

• A3 — a greater understanding of performance as a collaborative creative artistic process which draws upon and challenges their intellectual, imaginative, emotional and physical abilities

• A4— a critical awareness of the relationship between the text, the music, the event and the audience in a range of social contexts and historical periods

• A5 — the skills required to research, evaluate, discuss and write about performance


• Subject-specific skills and Attributes

On successful completion of this programme a graduate will be able to:

• B1 — an understanding of the commitment and self discipline demanded of the professional multi-disciplined performer

• B2 — a knowledge of dance, acting and singing styles appropriate to the current musical theatre industry

• B3 — a working knowledge of musical and non-musical theatre history and style

• B4 — the understanding and skills to integrate a variety of disciplines within a performance

Transferable Skills and Attributes

On successful completion of this programme a graduate should:

• C1 — the initiative to work both independently and as part of a collaborative team

• C2 — the ability to be responsible for the development and assessment of their own professional skills

• C3 — a range of analytic, reflective and communicative skills, informed by a practical understanding of the processes inherent in production

• C4 — the ability to critically evaluate arguments, assumptions, abstract concepts and information and to make judgements and frame appropriate questions in order to identify solutions to practical and theoretical problems

• C5 — the ability to present their performance and themselves with confidence and communicate effectively in writing and through oral and practical work

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RELATIONSHIP BETWEEN LEARNING OUTCOMES AND ASSESSMENTEach module is shown on the left and each of the learning outcomes listed across the top of the chart. A shaded square indicates that the learning outcome is addressed in the content of the module and squares containing a white or black ( • ) mean that your understanding of the learning outcome is assessed in one or more of the assessment tasks of the module.

Module Level A1 A2 A3 A4 A5 B1 B2 B3 B4 C1 C2 C3 C4 C5

PA1200 1 • •

PA1201 1 • •

PA1202 1 •

PA1203 1 • • •

PA1204 1 • • • •

PA1205 1 • •

PA2200 2 • • • •

PA2201 2 • • • •

PA2202 2 • • • •

PA2203 2 • • • • • • •

PA2204 2 • • • • • • • • •

PA2205 2 • • • • •

PA2206 2 • • • • • • • • • • •

PA3201 3 • • • • • • • •

PA3202 3 • • • • • • • •

PA3203 3 • • • • • • • • •

PA3204 3 • • • • • • • • • • • • •

PA3205 3 • • • • • • • • • • • • •

SECTION CONTENTS• Assessments — 2• AssessmentStrategies — 5• AssessmentFeedback — 9• AssessmentCriteriaCharts — 13• AssessmentScheduleLevel1 — 18• AssessmentScheduleLevel2 — 19• AssessmentScheduleLevel3 — 20

/2B ASSESSMENTS

ASSESSMENTS

Introduction

This section identifies and discusses the management and implementation of assessment and feedback on assessed work. It is important that you are exposed to a diversity in teaching, learning and assessment methods during your study and the following describes procedures for the assessment:• Written assignments

(essays, journals)• Practical Assignments• Seminar Presentations • Class Participation

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WHAT IS ASSESSMENT?

Assessment is a generic term for a set of processes that measure the outcomes of your learning, in terms of the knowledge acquired, your understanding of the subject and the skills you gain. Assessmentthereforeprovides:

• A means, by which you are graded, passed or fail.

• The basis for decisions on whether you are ready to proceed, to qualify for an award or to demonstrate competence to practice.

• Feedback on your learning, and help to improve performance.

• Staff with the opportunity to evaluate the effectiveness of their teaching.

The Programme’s assessment strategy is designed to measure how well you achieve the programme learning objectives and reach the required standard for the award of the Honours degree. Assessed assignments are also important learning opportunities, which build upon each other as well as providing the means of formal assessment. With this in mind, an assessment strategy has been devised in which:

• Every assessment is designed to be of use to you and to relate closely to your academic development;

• Every assessment is designed to provide information on your ability and progress towards fulfilling the aims of the programme;

• A range of assessment methods, both formative and summative, are used, assessing both your reflective and analytic oral and written abilities as well as your practical understanding, creative and collaborative skills and ability to undertake research and enquiry;

• All modules are assessed. Most modules are assessed by more than one method.

/4B ASSESSMENTS

The three main forms of assessment are diagnostic, formative and summative and are defined as follows: a. DiagnosticAssessment – indicates a learner’s

aptitude and preparedness for a programme of study and identifies potential learning problems;

b. FormativeAssessment– designed to provide learners with feedback on progress and development but does not contribute towards the overall assessment;

c. SummativeAssessment – measures achievement or failure in respect of a learner’s performance in relation to the learning outcomes of the programme of study.

These definitions encompass many types of assessment. Providing you with feedback on these different types of assessment requires a measure of flexibility to assist your learning. All assessments at Level One are seen as diagnostic and formative. A recorded percentage mark enables you to chart your progress and gain an understanding to the criteria used to describe the level or standard you have attained. At this level however assessments are formally recorded as pass or fail. Achieving an overall pass at Level One enables you to progress to Level Two. Assessed assignments in Level Two help to develop practical, critical and research skills as a basis for informed choice and study/practice at Level

Three. They help you to become an autonomous learner by offering opportunities for choice and self-determination as well as critical engagement with and manipulation of concepts. Assessment in Level Three and Level Two is described as summative and characterised by the need for the application of previously acquired practical knowledge, a highly developed knowledge base, a requirement for critical analysis and an appropriate measure of both collaborative and independent work. The recorded percentage mark for these assessments contributes to the final degree classification.

Assessment is non-judgmental in the sense that it focuses on learning, which is the outcome of many influences, including teaching style, student motivation, timeliness, study intensity, and background knowledge. It is the aim of the Programme Team to ensure that all aspects of your assessment are clear - and so that there should be no surprises or mysteries.

Assessment outcomes are designed to be positive and assist you in your development. We recognise the sensitivities involved in the assessment process therefore and individual assessments and feedback will be confidential. However, you will be encouraged, even expected, to develop your abilities in positive critical analysis and collaborative project work which is often discussed in open forum. A great benefit of studying in groups is that your peers can often remind habits and repeated errors, just as you can assist them in developing control of their instrument.

/5B ASSESSMENTS

AssessmentCriteria

The programme uses a variety of assessment platforms. You need to develop a wide range of skills and be confident, articulate and expressive in a variety of media. The major assessment strategies are outlined below.

ContinuousAssessmentOfPracticalCoursework

This is undertaken by tutors, at key points indicated to you in advance and in respect of clearly articulated criteria: which may include commitment to process, understanding of practice, development of practical and collaborative skills and the ability to reflect upon practice. You are encouraged to research and test ideas and theory in practice and to develop theory from practice.

Logbooks

A number of components may require you to keep a series of logbooks, which will build into a record of their project, performance and practical work.

ReflectiveJournal

You will be required to keep a series of reflective journals for specific components, which builds into a record of your work. Each journal is a vital record of individual discoveries and may also draw upon the reflections, observations and conclusions of previous journals. In this way, you learn to critically reflect upon and articulate your own knowledge, experience and process.

ASSESSMENT STRATEGIES

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SeminarPresentation

Seminar Presentations give you the opportunity framework to explore, examine and discuss subjects with your peer group. They are designed to develop the ability to research, analyse and communicate ideas.

WrittenAssignments

Written assignments ranging from 1,500 words to 2,000 words are set in Levels 1 and 2. They are designed to develop skills of analysis and comparative study, the ability to research, develop and test ideas and communicate effectively in writing. Written assignments allow you to generate answers rather than select them; and to demonstrate your knowledge within broad limits and demonstrate originality, creativity in a topic and in real depth.

ResearchProject

In Level Three you use these skills in a major research project which is the equivalent of 4,000 words. The project is broken down into two components. Alternatively, you can choose to present a 20 to 40 minute self-directed performance component plus a 3000 word written component. A project may contain written material such as objective descriptions, constructive evaluations, together with visual and aural material, design work, DVD and photographic records that demonstrate your ability to appropriately research the chosen area. Practical Assignments allow you to practice live projects in real-life situations. Practice-based realised assignments are hands-on and allow you to be creative and resourceful within the scope of limited resources and time.You will prepare a seminar presentation on your chosen topic that is presented at the end of semester 1 and is equivalent to 500 words and counts for 20% of the assessment weighting. All submission proposals must be negotiated and agreed with your supervising tutor and the Program Leader.

/7B ASSESSMENTS

PracticalPresentation

This category includes sessions with a peer audience in order to present a specific aspect of the curriculum. Assessment is based not only on content but also the efficiency and effectiveness of the presentation.

ClassParticipationYou are expected to attend all required scheduled classes and encouraged to contribute to class discussion. Participation is the key to a lively class. Class participation provides the opportunity to practice speaking and develop your persuasive skills, as well as the ability to listen. Comments that are vague, repetitive, unrelated to the current topic, disrespectful of others, or without sufficient foundation will be evaluated negatively. What matters is the quality of one’s contributions to the class discussion, not the number of times one speaks.

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MARKSMarks carry evaluative and accumulative weight as to the worthiness of your achievement. You will find that individual marks for assignments are consolidated with other marks in a module to give an overall mark. TheweightingofeachofthemarksissetoutinthemoduledescriptionsinSectionC.

ASSESSMENT CRITERIAAssessment criteria are determined by the aims and objectives of the programme and the expected outcomes of the modules. They also relate to commonly accepted criteria for education at this level. Assessment Criteria are set out in charts with written descriptions of attainment for each band of marks. You will find that some charts relate to very specific aspects of your programme, whereas others have more general purpose to cover such aspects as written work. The criteria are therefore important benchmarks used by the internal examiner in assessing the quality of your work and for you to be able to reflect on your performance and progress. In more specific terms the criteria will articulate:

• Your ability to develop and test ideas in theory and practice

• Different levels of attainment and their relation to the aims of the modules

• The measurement of your attainment of intellectual and imaginative powers

• Your use of appropriate methods for the development of communication skills

• Your grasp, engagement and implementation of professional and vocational skills

B ASSESSMENTS /9

ASSESSMENT FEEDBACK

An important aspect of assessment is the way that you are advised about the outcome. The programme uses a variety of written and oral feedback mechanisms to provide you with information and advice about the quality of your work and strategies for moving forward to the next assignment.

/10

The type of assessment feedback used is designed to complement the method of assessment used. For example, you will find that most written work you submit will have feedback provided in written form. Oral feedback is more appropriate following the assessment of a student’s overall development during the year but will also be supplemented by written summaries.

It is critical that staff providing feedback to students have a clear understanding of the faculty’s policy and processes for providing assessment feedback, and that they are aware of the assessment material, the learning outcomes and the students’ work. This allows for standardisation, which allows for monitoring, auditing and improving the methods of feedback and assessment.

It is College policy that you are provided with information before you commence an assignment as to: • how work will be assessed;• when and how assessment results will be

communicated, • what format of assessment feedback you may

expect, • an agreed timeframe for the submission of

assessed work and the provision of feedback, both throughout the academic year and in individual instances, and

• details of assessment criteria and learning outcomes for the module, together with information on whether and how assessment feedback will be related to these criteria and outcomes.

It is important for feedback to be given as soon as is possible, usually no more than two weeks after the hand-in deadline. You should expect the comments made to be insightful and constructive and designed to be helpful in addressing areas of weakness. You will also be provided with a ProvisionalMark. The final mark is confirmed by the Board of Examiners at the end of the academic year and may be subject to adjustment. However, the provisional mark is useful and important for you to have an indication of the standard of your work. Please remember a number of factors feed into the Final Mark, and therefore a Provisional Mark can later be changed.

Completing the cycle of learning, assessment and assessment feedback is important in the creation of an integrated student academic experience. Assessment feedback should identify ways to further develop your knowledge and learning abilities. The feedback process provides an opportunity for you to work towards a set of goals, aiming at improving your learning and your performance in the next set of assessments.

The College uses standard Assessment Feedback forms to ensure that there is a consistency in feedback procedures. ExamplesoftheseformscanbefoundinAppendixIII.

/11B ASSESSMENTS /11/11

StudentFeedback

Your feedback to us is also very important. As part of the quality assurance processes, programmes are regularly monitored to assess the effectiveness of the teaching and learning strategies. You will be asked to give written feedback on a module-by-module basis and there are frequent group feedback sessions, particularly at the end of practical projects. In addition, you will be asked to elect student representatives from your year group to sit on Programme and Faculty Boards. Student representatives play an important role in advising staff on student issues related to programme delivery.

TheBoardofExaminers

The procedure for agreeing and confirming marks and any resulting consequences is a very formal process. The guidelines governing assessment and examination are set out in the Academic Regulations and they cover every aspect of the process. Overall management of The Board of Examiners is a formal meeting that takes place at the end of each academic year to consider and confirm all marks awarded in that year. This meeting is preceded by formal meetings at programme and faculty levels where marks are reviewed and agreed by lecturing staff – the internal examiners. Mark-sheets are then forwarded to the Board of Examiners who consider all marks awarded across the College.

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TheConsequencesofFailure

A possible outcome of assessment is that you may be awarded a fail mark. This may happen because the work you present does not meet the required standard. The College uses the percentage marking system where any mark below 40% is deemed to be a fail. In most cases and if you have demonstrated that you have made a serious attempt at the assignment you will be given the opportunity to retrieve the failure by attempting the assignment again or undertaking an alternative assignment. In certain circumstances, set out in the Academic Regulations, your failure may be condonable and you may be able to continue without redoing the assignment.

So while there are safety nets you must be aware that failure can lead to a situation where you are forced to withdraw from the programme. This is rare but it is vital that the programme sets and maintains high standards and expects its students to aspire to those standards.

Failure can also result because of the imposition of a penalty. This will happen if you hand in work late or not at all. Deadlines are important and must be respected. The programme will only grant extensions to hand-in if there are very persuasive reasons

There are of course circumstances that are beyond your control, for example illness, that may prevent you from continuing your studies or inhibit your performance. Again, there are regulations and procedures to ensure that students with legitimate reasons are not unfairly penalized and your circumstances can be taken into account when you are assessed. The most important issue is for you to advise the College of any problem that may affect your studies as soon as possible. It is much easier to take action to deal with the potential consequences of problems before they occur. The College takes great care to ensure that your privacy is respected if the nature of the problem is confidential.

If you think you are getting into difficulties, it is vital to talk to a member of staff before it becomes a problem that is difficult to unravel. The College sets high standards and expects a great deal of commitment from you, but we recognize that things can go wrong and will do all that is possible to advise and assist you. If you have a problem that you need to discuss confidentially then you should make use of the Student Counsellor.

B ASSESSMENTS /13

ASSESSMENT CRITERIA CHARTS

The following charts establish Assessment Criteria as evaluation guidelines for students and staff. A distinction has been made between written work, practical projects and research criteria in order to clarify the need for a different approach to the examination of the expected outcomes. Specific assessment criteria can be found in each module description in Section C.

B ASSESSMENTS

Class Mark WrittenWork

I 90%-100% As below but also demonstrating imaginative application of research, argument and conclusions beyond the initial subject but with relevance to the field.

80%-89% As below but also demonstrating consistent originality of thought and approach

70%-79%

1. Covers all aspects of the assignment briefing2. Guides the reader through well-reasoned and structured

argument3. Breadth of research and critical use of source material4. Appropriate style, use of language and syntax5. Clear, secure grasp of the subject and context

IIi 60%-69% 1. Covers all aspects of the assignment briefing2. Clear structure and argument3. Relevant and effective use of research4. Rare lapses of style, language and syntax5. Sense of the subject and wider context

IIii 50%-59% 1. Address all of the assignment briefing, but variably so2. Evidence of a cohesive structure and relevant, if limited, argument3. Adequate use of research4. Mainly good use of style, language and syntax5. Some sense of the subject and context

III 40%-49%

1. Address most aspects of the assignment briefing2. A sense of logical structure, with some argument3. Some relevant research4. Sufficient style, use of language and syntax to be easily read5. Little sense of the subject and context

RedeemableFail

33%-39% 1. Poor sense of the assignment briefing and its requirements2. Weak or incoherent structure3. Little, or frequently irrelevant research4. Use of style, language and syntax render the paper difficult to

read5. Poor sense of the subject and context

OutrightFail 0%-32% 1. No sense of addressing the assignment briefing or, at most, only sporadically

2. Incoherent structure3. No, or largely irrelevant research4. Style, language and syntax consistently poor and faulted5. No sense of the subject and context

Assessment Criteria Chart

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Class Mark PracticalClassesandPerformanceProjects

I 80%-100% As below, but with creativity and originality in realisation of the work.

70%-79%

1. Achieves all of the designated outcomes of the brief grasp of all aspects of the performance

2. Fully prepared and organised for and in complete control of all performance aspects

3. Assured and fluent in handling knowledge and understanding of the subject and its contexts

4. Assured and confident expression and communication throughout the performance

5. Breadth and depth of research was evident in the execution of the performance

6. Full imaginative engagement with all aspects of the work being performed7. Full personal commitment and self-discipline8. Engaging in the collaborative team process and integrating a fully realised

personal contribution within the working group

IIi 60%-69% 1. Realises consistently all of the designated outcomes of the brief with a clear and confident grasp of most aspects of the performance

2. Fully prepared and organised3. Comprehensive knowledge and understanding of the performance subject

and its contexts4. Well expressed and communicated throughout the performance5. Relevant and effective use of research was evident in the execution of the

performance6. Consistent imaginative engagement with the work being performed7. Consistent commitment and self-discipline 8. Successfully contributing to the work of the group and operating as a fully

integrated team member

IIii 50%-59% 1. Realises all of the designated aspects of the brief, but uneven grasp of various aspects of the performance

2. Competent preparation and organisation, but with some aspects unrealised3. General but variable knowledge and understanding of the performance

subject and its contexts4. Generally able to express and communicate during performance5. Adequate use of research was evident in the execution of the performance6. Generally, but variably engaged at an imaginative level with the work being

performed7. Committed and self-disciplined, but variably so8. Generally contributing to the work of the group

Assessment Criteria Chart

B ASSESSMENTS

Class Mark PracticalClassesandPerformanceProjects

III 40%-49%

1. Addresses most but not all of the designated outcomes of the brief, without grasp of the various aspects of the performance

2. Uneven preparation and organisation but sufficient to meet the demands of the brief

3. Adequate but incomplete knowledge and understanding of the performance subject and its contexts

4. Partial success in expressing and communicating during performance 5. Some relevant research and its application was evident in the execution

of the performance6. Some imaginative engagement with the work being performed7. Sufficient but erratic commitment and self-discipline8. Some contribution to the working group and to collaborative team work

RedeemableFail

33%-39% 1. Inadequate coverage of the range of designated outcomes of the brief2. Poorly prepared and organised3. Insufficient grasp of the performance subject and its contexts4. Poorly expressed and communicated during performance5. Inadequate use of research was evident in the execution of the

performance6. Little imaginative engagement with the work being performed7. Insufficient commitment and self-discipline8. Inadequate contributions to the work of the group and the building of a

team

OutrightFail 0%-32% 1. Poor coverage of the range of designated outcomes of the brief2. Unprepared and disorganised 3. Little grasp of the performance subject and its contexts4. Ideas unformulated, badly expressed and inadequately communicated5. Little or no research was evident in the execution of the performance6. No imaginative engagement with the work being performed7. Lacking commitment and self-discipline8. No contributions to the work of the group and the building of a team

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Class Mark ResearchPortfolio,ReflectiveJournalandSeminarPresentation

I 80%-100% As below, but with superbly articulated creativity, originality and insight in the realisation of the work.

70%-79%

1. Covers all aspects of the assignment briefing with evidence of perceptive insight and originality

2. Uses a variety of appropriate and effective research methodologies in completion of assignment

3. Clear analysis and understanding of the material combined with effective and innovative presentation

4. Clear evidence of developed reflection upon, and understanding of, the processes involved in practice.

IIi 60%-69% 1. Covers all aspects of the assignment briefing2. Uses a variety of appropriate research methodologies in completion of

assignment3. Clear analysis and understanding of the material combined with effective

presentation4. Clear evidence of developed reflection upon the processes involved in

practice

IIii 50%-59% 1. Addresses all aspects of assignment briefing but unevenly2. Uses appropriate research methodologies3. Analysis of the material combined with some understanding of effective

presentation4. Evidence of reflection upon the processes involved in practice

III 40%-49%

1. Addresses most aspects of the assignment briefing2. Has some understanding of different modes of research3. Some analysis of the material within adequate presentation4. Evidence of uneven reflection upon the processes involved in practice

RedeemableFail

33%-39% 1. Poor sense of the assignment briefing and its requirements2. No understanding of the variety of research appropriate for the assignment3. Little analysis of the material with poor presentation4. Inadequate evidence of reflection upon practice

OutrightFail 0%-32% 1. No sense of assignment briefing2. Distinctive lack of research3. No evidence of analysis4. No evidence of ability to reflect upon practice

ASSESSMENT CRITERIA CHART

B ASSESSMENTS

ASSESSMENT SCHEDULE LEVEL 1Modules CourseCode Credits AssessedItem Weighting Date

Singing1 PA1200 15 Practical Coursework

Singing Journal

90%

10%

Wk29

Music1 PA1201 15 Practical Coursework 100% Wk28

Dance1 PA1202 30 Practical Coursework 100% Wk30

Acting1 PA1203 30 Practical Coursework

Written Assignment

80%

20%

On-going

On-going

AcademicStudies1 PA1204 10 Written Assignments/ Seminar presentations

100% On-going

Performance1 PA1205 20 Practical Presentation

Reflective Journal

80%

20%

On-going

On-going

/19

Modules CourseCode Credits AssessedItem Weighting Date

Singing2 PA2200 15 Practical Coursework

Singing Journal

90%

10%

Wk29

Music2 PA2201 15 Practical Coursework 100% Wk28

Dance2 PA2202 20 Practical Coursework 100% Wk30

Acting2 PA2203 20 Practical Coursework

Written Assignments

85%

15%

On-going

AcademicStudies2 PA2204 10 Written Assignments/ Seminar presentations

100% On-going

Performance2A PA2205 20 Practical Presentation

Research Portfolio

80%

20%

On-going

On-going

Performance2B PA2206 20 Practical Presentation

Research Portfolio

80%

20%

On-going

On-going

ASSESSMENT SCHEDULE LEVEL 2

/20B ASSESSMENTS

Modules CourseCode Credits AssessedItem Weighting Date

PerformanceSkills PA3201 40 Practical Course work 100% Wk29

PerformanceResearch

PA3202 15 Written Assignment

Seminar Presentation

80%

20%

Wk30

Wk16

CareerManagement

PA3203 5 Written Assignment 100% On-going

Performance3A PA3204 30 Practical Presentation

Research Portfolio

90%

10%

On-going

On-going

Performance3B PA3205 30 Practical Presentation

Research Portfolio

90%

10%

On-going

On-going

ASSESSMENT SCHEDULE LEVEL 3

SECTION CONTENTS• ModuleDescriptions&ReadingLists — 2

• Singing1/Level1 — 3• Music1/Level1 — 6• Dance1/Level1 — 9• Acting1/Level1 — 12• AcademicStudies1/Level1 — 16• Performance1/Level1 — 19

• Singing2/Level2 — 22• Music2/Level2 — 26• Dance2/Level2 — 29• Acting2/Level2 — 32• AcademicStudies2/Level2 — 36• Performance2A/Level2 — 39• Performance2B/Level2 — 42

• PerformanceSkills/Level3 — 46• PerformanceResearch/Level3 — 49• CareerManagement/Level3 — 52• Performance3A/Level3 — 55• Performance3B/Level3 — 58

/2MODULEDESCRIPTIONSC

MODULE DESCRIPTIONS & READING LISTS

LEVEL ONE • Singing1• Music1• Dance1• Acting1• AcademicStudies1• Performance1

LEVEL TWO • Singing2• Music2• Dance2• Acting2• AcademicStudies2• Performance2A• Performance2B

LEVEL THREE • PerformanceSkills• PerformanceResearch• CareerManagement• Performance3A• Performance3B

/3

ModuleCode PA1200

Credits 15

Status Compulsory

Prerequisites Placement Audition

Semester 1 & 2

Weeks 1 – 30

IndicativeWorkload(inhours)

ClassroomWork 52

Writing 18

PrivateStudy 80

Total: 150

ModuleDescription

This module will offers students a weekly singing lesson with a vocal professional, and introduce students to the technical requirements of vocal performance.

The singing voice is the most natural of all instruments and this component is designed to allow students to develop their individual vocal potential. Students at this level will only study repertoire written prior to the 1960’s so a thorough grounding in classical technique is established.

Weekly Song Repertoire classes will introduce students to the vocal repertoire of musical theatre and explore the early works and styles that form the historical base of the genre. This class will allow students to begin the integration of their singing, acting and music skills classes.

A reflective journal documenting the understanding of the techniques and repertoire being studied in both components is also included in this module.

SINGING 1 / LEVEL 1


Aimsto• Explore and identify the needs and care of the

singing voice• To introduce the student to the solid foundations

of a strong classical vocal technique• To study and build repertoire suited to the vocal

technique being studied• To seek physical control of the voice with

attention being particularly given to breathing and placement.

• Explore the early song repertoire of musical theatre

LearningOutcomesOn successful completion of this module, a student will:

• have established a secure classical foundation and vocal technique along with an understanding of his/her singing voice and its physiology and the requirements of vocal health.

• Demonstrate flexibility of tone and use of various tonal colours to help adopt to the varying musical theatre styles which will be met

• have acquired a core repertoire of songs from the pre-1960’s era suitable for performance or audition.

TeachingMethods• Lectures, tutorials, practical class-work

Assessment

PracticalCoursework SingingSong Repetoire

60%30%

SingingJournal 10%

AssessmentOutlinesA student’s attendance, progress and commitment are considered in addition to the following:

a. PracticalCoursework Singing assessment before a panel includes the following:

i. Vocaliseii. Pre-1960’s Balladiii. Pre-1960’s Up-tempo Each semester, students are assigned a song from the Song Repertoire class and are required to perform it to both peers and lecturing staff. Students will also be required to sing a complete song at sight.

b. Journals A journal of singing lessons is kept throughout the year to assist the student to chart his/her progress in areas of vocal technique and vocal health as well as to document an understanding of the physiology of the voice. This journal is viewed by the lecturer at mid year to ensure students are able to articulate the information.

/5

RequiredReading

Hunt, Peter. Handbook For Singing, Oxford. New York, 2001

Melton, J. Singing in Musical Theatre: The training of Singers and Actors, Allworth Press, 2007

Practical work books will be assigned by the individual lecturers.

RecommendedReading

Bennett, Gloria. Vocal Technique Breaking Through, Hal Leonard Corp. Milwaukee Wis.1994

Brower, Harriete, & James Francis Cooke. Great Singers On The Art Of Singing, Dover Publications. Mineola, New York, 1985

Bunch, Meribeth. Dynamics For The Singing Voice, Springer-Verlag. New York, 1993

Campbell, Mike. Sight Singing: The Complete Method for Singers, Hal Leonard Corp. Milwaukee, Wis. 1998

Citron, Stephen. The Musical From The Inside Out, Hodder & Stoughton, London, 1991

Harpster, Richard W. Technique In Singing, Schimer Books. New York, 1984

Husler, Frederick & Yvonne Rodd-Marling. Singing: The Physical Nature Of The Vocal Organ, Huchinson. London, 1983

Jacobi, Henry N. Building Your Best Voice, Schimer Books, New York, 1982

Kagen, Sergius. On Studying Singing, Dover

Publications. New York, 1950

Kosarin, Oscar. The Singing Actor, Prentice-Hall Inc. Englewood Cliff, NJ, 1983

Krasker, Tommy. Catalogue Of The American Musical. National Institute For Opera And Musical Theatre, 1988

Miller, Richard. The Structure of Singing, Schirmer Books. New York, 1986

Peckham, Anne. The Contemporary Singer: element s of Vocal Technique, Berklee Press; Boston, Mass. 2000

Potter, John. Vocal Authority: Singing Style and Ideology. Cambridge University Press. New York, 1998

Robison, Kevin. The Actor Sings: Discovering a Musical Voice For the Stage, Heinemann. NH, 2000

Rusch, Gloria. The Professional Singer’s Handbook, Hal Leonard. Milwaukee, Wis. 1998

Salaman, Esther. Unlocking Your Voice: Freedom To Sing, Khan & Averill. London, 1999

Waterman, Roma. The Working Singer’s Handbook, Roma Waterman, 2007


ModuleCode PA1201

Credits 15

Status Compulsory


Semester 1 & 2

Weeks 1 – 30


ClassroomWork

72

Writing 20

PrivateStudy 58

Total: 150

ModuleDescription

This module provides an introduction to the various musical skills necessary for the professional musical theatre performer. Students study Music Theory as well as developing their Aural and Keyboard skills, the module is designed to develop a firm foundation upon which subsequent music modules will build.Music Theory and Aural is based on standard practice in western music. Students learn music terminology, standard harmonic construction and forms, as well as develop an aural system that will enable them to aurally identify standard elements in classical and contemporary music.

The development of a working knowledge of piano Keyboard skills will assist in the integration of Theory and Aural skills.

MUSIC 1 / LEVEL 1

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Assessment

PracticalCoursework

30%30%40%

Music Theory Aural skillsKeyboard skills


a. PracticalCourseworkKeyboard Skills are be a practically assessed while a written paper is required for Music Theory. Aural includes both written and practical aspects.

••StreamingMusic classes are streamed into the following teaching and assessment levels:

• BeginnerAural equivalent to minimum ABRSM Singing (Sight-Singing) Grade3

• IntermediateAural equivalent to minimum ABRSM Singing (Sight-Singing) Grade5

• AdvancedAural equivalent to minimum ABRSM Singing (Sight-Singing) Grade7

• BeginnerTheory equivalent to minimum ABRSM Theory Grade2

• IntermediateTheory equivalent to minimum ABRSM Theory Grade4

• AdvancedTheory equivalent to minimum ABRSM Theory Grade5

Aimsto• Introduce the basic language of music.• Begin developing the sight and aural identification

of intervals.• Introduce the basic fundamentals of the piano

keyboard• Apply piano keyboard skills to the practice of

singing and the independent learning of vocal repertoire.


• demonstrate a greater understanding of the stave, note names and values, time and key signatures, as well as accidentals and basic scale formations in the practical context of playing the piano.

• develop the sight-identification and practical demonstration of melodic and rhythmic figurations.

• demonstrate an ability to play simple tunes with both hands on the piano.

• Sustain an independent melodic line against a competing voice with accuracy of pitch and awareness of intonation.



• BeginnerKeyboard equivalent to minimum ABRSM Piano Grade1

• IntermediateKeyboard equivalent to minimum ABRSM Piano Grade2

• AdvancedKeyboard equivalent to minimum ABRSM Piano Grade3

ABRSM = Associated Board of the Royal Schools of Music

AssessmentStudents are assessed according to the assessment criteria assigned to each Level, however consideration is made of the progressive development of the individual student within their proficiency stream.

• •

RequiredReading

Harnum, Jonathan, Basic Music Theory: How To Read, Write And Understand Written Music, Questions, Inc. Publishing Fairbanks, 2001

Practicalworkbookswillbeassignedbytheindividuallecturers.

RecommendedReading

Aston, Peter & Julian Webb, Music Theory in Practice Grades 1-2. The Associated Board of the Royal Schools of Music, 1993

Benward, Bruce & Barbra G. Jackson. Practical Beginning Theory. A Fundamental Work Text, W. C. Brown, Dubuque, 1991

Campbell, Mike. Sight Singing: The Complete Method for Singers, Hal Leonard Corp. Milwaukee, Wis. 1998

Duckworth, William. A Creative Approach To Music Fundamentals, Wadsworth/Thompson Learning, Australia, 2001

Manoff, Tom. The Music Kit: Workbook, W.W. Norton & Co., New York, 1994

Manoff, Tom. The Music Kit: Rhythm Reader and Scorebook, W.W. Norton & Co., New York, 1994

Ottman, R & F. Mainous. Rudiments of Music, Prentice-Hall. New Jersey, 1980

Ottman, Robert W. & Paul E. Dworak. Basic Ear Training Skills, Prentice-Hall Inc., New Jersey, 1991

Pinksterboer, Hugo. Rough Guide To Reading Music and Basic Theory, Rough Guides, London, 2001

Shumway, Stanley. Harmony and Ear Training At The keyboard, W.C. Brown Publishing Co. Dubuque, Iowa, 1980

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ModuleCode PA1202

Credits 30

Status Compulsory


Semester 1 & 2

Weeks 1 – 30


ClassroomWork

200

PrivateStudy 100

Total: 300

ModuleDescription

Dance is a central skill for the musical theatre artist and this module gives students a strong foundation for the continued study of dance in Classical, Jazz and Tap.

Classes will introduce students to the basic techniques, terminology and body awareness as well as safe dance practices. Production song and dance classes will enable students to assimilate their singing, dancing and acting skills in a practical way. A non-assessed course wide conditioning class will be held once a week. All these classes will form the basis for further and more complex work in subsequent years.

DANCE 1 / LEVEL 1


Aimsto:• Explore the potential of the body through a

variety of dance genres.• Introduce basic technique and terms in Classical,

jazz, tap and production song & dance.• Build confidence and knowledge and stamina in

the physical dance repertoire. • Begin to address any fears that may inhibit the

student’s physical freedom and flexibility• Introduce and understanding of physical &

stylistic requirements of dance.


• demonstrate a greater awareness and confidence of dance and its physical requirements

• have acquired a greater physical stamina and flexibility

• possess a basic understanding of anatomy • demonstrate a working vocabulary of dance

terminology. • have experienced a greater understanding of the

choreographic requirements in musical theatre. • Have begun to adopt the commitment and self

discipline demanded of the professional dance performer.

TeachingMethods• Practical class-work

Assessment

PracticalCoursework25%25%25%25%

ClassicalJazzTapProduction Repertoire

AssessmentOutlines

A student’s attendance, progress and commitment are considered in addition to the following:

a. PracticalCourseworkAssessments for Jazz and Song and Dance will take place before a panel and will include combinations of the syllabus studied over the year. Assessments for Ballet and Tap will be held by the teacher of that component.

• •StreamingDance classes are streamed into the following teaching and assessment levels:

• Beginner Equivalent of CSTD Grade 3

• Intermediate Equivalent of CSTD Grade 5

• Advanced Equivalent of CSTD Elementary

CSTD = The Commonwealth Society of Teachers of Dancing

AssessmentStudents are assessed according to the assessment criteria assigned to each Level, however consideration is made of the progressive development of the individual student within their proficiency stream.

• •

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RequiredReading

Kislan, Richard. Hoofing On Broadway-A History Of Show Dancing, Simon & Shuster. London, 1987

Long, Robert Emmet. Broadway, The Golden Years, Continuum, NY, 2002

RecommendedReading

Andreu, Helene. Jazz Dance: An Adult Beginner’s Guide, Prentice-Hall. Englewood Cliffs, NJ, 1983

Ambrosio, Nora. Learning About Dance. An Introduction to Dance As An Art Form and Entertainment, Kendall/Hunt Pub. Col, Dubuque, Iowa, 1999

Atwater, Constance. Tap Dancing: Techniques, Routines, Terminology. C.E. Tuttle Co. Rutland VT, 1971

Audy, Robert. How To Teach Yourself to Tap. Vintage Books. New York, 1976

Berkson, Robert. Musical Theatre Choreography: A Practical Method for Preparing and Staging Dance in a Musical Show, A & C Black. London, 1990

Buckroyd, Julia. The Student dance: Emotional Aspects of The Teaching and Learning of Dance. Dance, London, 2000

Dufort, Antony. Ballet Steps: Practice to Performance, C.N. Potter. New York, 1990

Feldman, Anita. Inside Tap: Technique and Improvisation for Today’s Tap Dance, Princeton Book Co. Pennington, NJ, 1996

Frank, Rusty E. Tap! The Greatest Tap Dance Stars and Their Stories, DaCapo Publications. New York, 1994

Franklin, E. Conditioning for Dance, Champaign. Il: Human Kinetics, 2004

Giordano, Gus. Jazz Dance Class: Beginning thru Advanced, Princeton Book Co. Hightstown NJ, 1992

Giordano, Gus. An Anthology of American Jazz Dance, Orion Publishing House. Il. 1978

Grant, Gail, Technical Manual And Dictionary of Classical Ballet, Dover Publications. New York, 1982

Gray, Acia. The Souls of Your Feet: A Tap Dance guidebook for Rhythm Explorers, Grand Weaver’s publishing. Austin, Tx.1998

Hammond, Sandra Knoll, Ballet Basics, Mayfield publishing Co. California, 1984

Howse, Justin, Dance Technique & Injury Protection, Routledge, New York, 2000

Kraines, Minda Goodman. Jump Into Jazz: A Primer for the Beginning Jazz, Mayfield Pub., Mountain View, Calif.1997

Luigi, Luigi’s Jazz Warm Up: An Introduction to Jazz Style & Technique, Princeton Book Co. Pennington, NJ, 1997


ModuleCode PA1203

Credits 30

Status Compulsory


Semester 1 & 2

Weeks 1 – 30


ClassroomWork 242

Writing 12

PrivateStudy 46

Total: 300

ModuleDescription

This module lays the foundation and understanding for the creation of an acting technique through practical application and text work.

Practical classes develop the skills needed by the actor and are developed and augmented over the three years. There is an exploration of acting theories, including a practical study of Stanislavski’s approach to performance and the concept of working on self in order to develop ways of exploring roles. Voice classes introduce a series of exercises designed to develop a technically sound vocal instrument. These exercises make students aware of the importance of breath (support and release), resonance (balance and placement) and muscularity. Improvisation classes aim to make students aware of their imaginative resources introducing them to the principles of play, developing spontaneity and stimulating an awareness of others, whilst movement work extends the physical awareness of each student.

ACTING 1 / LEVEL 1

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Aimsto• Introduce the need for a secure acting technique,• Encourage vocal and physical freedom and

flexibility• Focus on releasing the students’ imagination.• Enable students to work in an open and creative

environment.• Introduce the works of the great playwrights

western theatrical genre.• Develop professional practice and self-discipline • Introduce the core skills of voice, and movement


• demonstrate the ability to record and reflect upon their work and that of others

• comprehend the need for a sound technical base for acting.

• possess an understanding of theatre as a collaborative creative artistic process which draws upon and challenges their intellectual, imaginative, emotional and physical abilities

• develop a critical awareness of the relationship between the text and the performer.

• show an understanding of the commitment and self discipline demanded of the professional actor

• display the ability to accept responsibility for the development and assessment of their own professional skills

• embody core Stanislavskian principles such as Personalisation, Public Solitude, Given Circumstances, Sense Memory and Objectives, and the purpose and applicability of Impulse work

TeachingMethods• Critical session, seminars, practical class-work,

practical presentations

Assessment

PracticalCourseworkActingImprovisationVoiceMovement

25%20%20%20%

WrittenAssignments 15%


a. PracticalCourseworkStudents are assessed on quality of contribution, participation and practical presentations in Acting, Improvisation, Movement and Voice. Practical presentations set by the lecturer will occur throughout the year.

b. WrittenAssignmentAn assignment is set on a topic related to the texts being studied. The written work will be viewed mid year by the lecturer to ensure format and content are as designated.


RequiredReading

Gates, Linda. Voice For Performance, Applause, New York, 2000

Hagen, Uta. A Respect for Acting, Basingstoke: Macmillan, 1973

Stanislavski, C. An Actor Prepares, London: Eyre Methuen, 1980

Play texts will be assigned by the lecturers.

RecommendedReading

Andeerson, V. Training The Speaking voice, Eyre Methuen Oxford university Press. New York, 1977

Barker, C. Theatre Games, Eyre Methuen, London, 1997

Barlow, W, More Talk of Alexander, Gollancz, London, 1987

Beckerman, B. Performer, audience & Act, Routledge, New York

Benedetti, RL. The Actor At Work, Allyn & Bacon, Boston, 1997

Benedetti, J. Stanislavski: an introduction, London: Eyre Methuen, 1982

Berry, C. Voice and The Actor, Harrap, London, 1973

Boal, A. Games For Actors And Non Actors, Routledge, London, 1982

Callow, S. Being An Actor, Penguin, Harmondsworth, 1984

Cole, T and Chinoy H (Ed.) Actors On Acting, Crown, New York, 1980

De Mallet Burgess, Thomas. The Singing And Acting Handbook, Routledge, London, 2000

Evans, M. Movement Training for the Modern Actor, Routledge, 2008

Feldenkrais, M. Awareness Throught Movement, Arcana, New York, 1990

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Griffiths, Stuart. How Plays Are Made, Heineman Press, oxford, 1982

Hodge, A. Twentieth century actor training, London: Routledge, 2000

Innes, C. ed. A Sourcebook on Naturalist Theatre, Routledge, London, 2000

Johnstone, K. Impro: Improvisation In The Theatre, Eyre Mehtuen, London, 1981

Linklater, K. Freeeing The Natural Voice, Drama Book Publisher, New York, 1976

Machlin, Evangaline. Speech for The Stage, Routledge, London, 1992

Manley, Beatrice. M Breath In Art, Applause, new York, 1998

Morrison, Malcolm. Clear Speech, A & C black, London, 2001

Polsky, Milton. Let’s improvise: Becoming Creative, Expressive, University Press of America, New York, 1998

Potter, N. Movement for actors, US : Allworth, 2002

Sher, A, Year Of The King, Mehtuen, London, 1985

Spolin, Viola. Improvisation For The Theatre, Northwest university Press, 1985

Thomson, P. On Actors And Acting, University of Exeter, Exeter, 2000


ModuleCode PA1204

Credits 10

Status Compulsory


Semester 1 & 2

Weeks 1 – 30


ClassroomWork

72

Writing 20

PrivateStudy/Research

8

Total: 100

ModuleDescription

This module engages students in an overview of the context in which World Theatre developed and the history that informed that development. Dramatic Literature classes will further an understanding of the great works of the theatre with an emphasis on analysis.

ACADEMIC STUDIES 1 / LEVEL 1

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Aimsto• Provide students with an understanding of the

development of the performing arts in a world context

• Explore and discuss the great literature and writers of theatre.

• Lay a foundation for future thematic and stylistic interpretations

LearningOutcomesOn successful completion of this module, students will:

• have a greater understanding of performance styles and genres in a variety of cultures.

• display an understanding of the interplay between theory and practice within performance work

• possess a critical awareness of the relationship between the text, the music, the event and the audience in a range of social contexts, historical periods and cultures

• have developed skills in researching, evaluating and writing about performance.

• have acquired a core repertoire of songs suitable for performance or audition.

TeachingMethods• Lectures, seminars, practical class-work

Assessment

WrittenAssignment/SeminarPresentationHistory of World TheatreDramatic Literature

50%50%


a. PracticalCourseworkStudents give seminar presentations on assigned texts in the Dramatic Literature and History of World Theatre components.

b. WrittenAssignmentThe topic and guidelines for this document are set by the lecturer conducting the Dramatic Literature and History of World Theatre components.


RequiredReading

Banham, Martin. Cambridge Guide to Theatre. Cambridge University Press, 1992

Clark, Barrett H. World Drama (2 Volumes) Dover Publications. New York, 1960

Other specific texts and play texts will be assigned by individual lecturers.

RecommendedReading

Barba, E & Nicola Savarese. The Secret Art Of The Performer: A Dictionary of Theatre Anthropology. Routledge, London, 1981

Esslin, M. The Theatre of the Absurd, London: Methuen, 2001

Hartnel, Phyllis ed. The Oxford Companion To The Theatre, Oxford University Press. 1971

Hartnoll, Phylis, The Theatre: A Concise History, Thames and Hudson. New York, 1985

Molinari. Theatre Through the Ages, N.Y. McGraw Hill, 1975


ModuleCode PA1205

Credits 20

Status Compulsory


Semester 1 & 2

Weeks 1 – 30


Rehearsals&Workshops

170

Writing 10

PrivateStudy 20

Total: 200

ModuleDescription

The rehearsal and performance projects introduce the student to the integration of class work and address the fundamentals of the work process through a series of classroom presented workshops.

Projects such as self devised/written and small scale cabaret/revue work offer stylistic as well as technical challenges. This module also exposes the students to the needs of ensemble work and the need for personally centred learning. A weekly ‘Performance Practice’ class is offered to all students on a rotating basis. This class allows each student to attempt a range of challenges they may set for themselves in singing, dancing and acting.

PERFORMANCE 1 / LEVEL 1


Aimsto:Assist in the process of the integration of skills• Introduce the accepted methods of rehearsal and

performances procedure• Create a safe and enquiring environment within

the group• Establish an understanding of process• Develop the communication between performer

and audience• Provide a forum for individual and self motivated

performance. LearningOutcomesOn successful completion of this module, students will:

• have a greater awareness of the creative process• understand both, personal and group needs• have begun to achieve the ability of self criticism• be more motivated towards self learning• possess a greater confidence and freedom as a

performer.

TeachingMethods• Rehearsals, workshops, critical sessions

Assessment

PracticalPresentationRehearsalPerformance

45%35%

ReflectiveJournal 20%


a. PracticalCourseworkStudents are assessed on their ability to work both independently and as part of a group as well as their contribution and the ability to express ideas.

b. PracticalPresentationThe ability and flexibility to amalgamate the director’s ideas into the student’s own vision and consolidate into a performance is assessed at each presentation. This performance is viewed by and commented on by a number of the lecturing staff.

c. Journal The parameters and content of this reflective journal is defined by the director of the project.


RequiredReading

Mitter, Shomit. Systems of Rehearsal, Routledge, New York, 1985

Oddey, A. Devising theatre: a practical & theoreti-cal handbook, London: Routledge, 1994

Specific texts, reading and study materials will be dictated by the specific production requirements and will be set by the directorial staff.

RecommendedReading

Andeerson, V. Training The Speaking voice, Eyre Methuen oxford university Press. New York, 1977

Barker, C. Theatre Games, Eyre Methuen, London, 1997

Barlow, W. More Talk of Alexander, Gollancz, London, 1987

Beckerman, B. Performer, audience & Act, Routledge, New York, 1990

Berry, C. Voice and The Actor, Harrap, London, 1973

Boal, A. Games For Actors And Non Actors, Routledge, London, 1982

Callow, S. Being An Actor, Penguin, Harmonds-worth, 1984

Cole, T and Chinoy H (Ed.) Actors On Acting, Crown, New York, 1980

Dymphna C. Through the Body: A Practical Guide to Physical Theatre, NY: Routledge, 2002

Feldenkrais, M. Awareness Throught Movement, Arcana, New York, 1990

Gates, Linda. Voice For Performance, Applause, New York, 2000

Innes, C. ed. A sourcebook on Naturalist Theatre, Routledge, London, 2000

Johnstone, K. Impro: Improvisation In The Thea-tre, Eyre mehtuen, London, 1981

Laban, R. The mastery of Movement (4th. Ed.), Northcote House, London, 1980

Schechner Richard. Performance studies : an introduction, Routledge, NY, 2003

Spolin, Viola, Theatre Games For Rehearsal: A Director’s Handbook, Northwestern University Press, Evanston Ill.1985

Yarrow, R and A Frost. Improvisation in Drama, Macmillan, Basingsoke, 1989


ModuleCode PA2200

Credits 40

Status Compulsory


Semester 1 & 2

Weeks 1 – 30


ClassroomWork 52

Writing 18

PrivateStudy 80

Total: 150

ModuleDescription

Private singing lessons continue to address vocal range and health, as well as address the technical requirements for a greater stylistic repertoire. Students at this level study repertoire written from the 1960’s to present day expanding and developing the classical technique is established in Level 1. Weekly Song Repertoire classes introduce students to the vocal repertoire of musical theatre and explore the early works and styles that form the historical base of the genre. This class will allow students to begin the integration of their singing, acting and music skills classes.

SINGING 2 / LEVEL 2

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Aimsto• Explore and identify the needs and care of the

singing voice.• To introduce the student to the solid foundations

of a strong classical vocal technique• To study and build repertoire suited to the vocal

technique being studied• To seek physical control of the voice with

attention being particularly given to breathing and placement.

• Explore the early song repertoire of musical theatre

LearningOutcomesOn successful completion of this module, you will be able to:

• achieve a more secure vocal technique along with a greater understanding of his/her singing voice and its physiology and the requirements of vocal health.

• Demonstrate flexibility of tone and use of various tonal colors to help adopt to the varying musical theatre styles which will be met

• have acquired a core repertoire of songs from the Musical Theatre repertoire suitable for performance or audition.


Assessment

PracticalCourseworkSingingSong repertoire

60%30%

SingingJournal 10%


a. PracticalCourseworkSinging assessment before a panel will include the following:

i. Vocaliseii. Pre-1960’s Balladiii. Pre-1960’s Up-tempo

The degree of difficulty will have increased from level 1 assessment. Each semester, students will be assigned a song from the Song Repertoire class and be required to perform it to both peers and lecturing staff. Students will also be required to sing a complete song at sight. The material in level 2 will have increased melodic and dramatic complexity.


b. Journals The journal of singing lessons kept throughout the previous year continues with the requirement of more detailed material on the student’s understanding of their vocal instrument. At the completion of level 2, each student should have a document charting their own personal growth in a singing technique along with an understanding singing physiology.

An informal un-graded assessment is held at the end of semester 1 to allow both the student and the staff to identify and address problems before the formal end-of-year graded assessments.

RequiredReading

De Brett, Tona. Discover Your Voice: learn To Sing From Rock to Classic, Schott. London, 1996

Peckham, Anne., The Contemporary Singer: Elements Of vocal Technique, Berklee Press, Boston, Mass. 2000

Practicalworkbookswillbesetbytheindividuallecturers.

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RecommendedReading

Alderson, Richard. Complete Handbook of Voice Training, Parker Pub. Co. West Nyack New York, 1979

Allen, Jeffrey. Jeffrey Allen’s Secrets of Singing, Warner Bros. Publications. Miami, Fla., 1994

Baxter, Mark. The Rock-n-roll Singer’s Survival Manual, Hal Leonard. Milwaukee Wis., 1990

Bunch, Meribeth. Dynamics Of The Singing Voice, Springer-Verlag, Wien, 1995

Green, Alan. The New Voice; How to Sing and Speak Properly, Chappell & Co. 2003

Harpster, Richard W. Technique In Singing, Schimer Books, new York, 1984

Melton, Joan. One voice: integrating singing technique and theatre voice training, Portsmouth, NH, 2003

Mckinney, James C. The Diagnosis & Correction Of Vocal Faults, Broadman Press, Nashville, Tenn. 1982

Roseman, Ed. Edly’s Music Theory for Practical People, Musical EdVentures, Kennebunkport, Me. 1999

Stoloff, Bob. Vocal Improvisation Techniques, Ger-ard and Sarzin Pub. Co. Brooklyn New York, 1996


ModuleCode PA2201

Credits 15

Status Compulsory

Prerequisites PA1201

Semester 1 & 2

Weeks 1 – 30


Classes 72

Writing 20

PrivateStudy 58

Total: 150

ModuleDescription

This module offers advances in the music skills begun in Music 1. The continued development of a working knowledge of Piano Keyboard, skills allows students to accompany themselves in vocal activity at a basic level and provides more complex information in Music Theory and Aural skills.

MUSIC 2 / LEVEL 2

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Aimsto• Introduce a more advanced knowledge of musical

terms and chords, their structure and inversion.• Explore more complex intervals and rhythms in

sight-singing with greater aural accuracy.• Encourage more self-accompaniment to simple

vocal works along with a more confident technical ability.

• Singing lessons will address more advanced technical requirements needed for a greater variety of styles i.e.: jazz, rock and pop.


• demonstrate a more analytical understanding of triads and their inversions as well as dominant sevenths, diminished and augmented chords.

• have gained an understanding of written chord symbols and have developed a greater proficiency of piano skills with an emphasis on right hand (melody) and left hand (chords)

• demonstrate an increased knowledge of the more complex aspects of rhythm, scales and theory with a greater facility at the piano keyboard to accompany his/herself with a simple song. Sight reading should also be of a more advanced standard.

• possess a singing voice with a secure technical base and an even tonal range throughout the scale.

At the completion of Level 2 it is expected the student will have reached a standard of ABRSM Grade Four Theory and ABRSM Grade Two Piano.


Assessment

PracticalCourseworkMusic TheoryAural SkillsKeyboard Skills

30%30%40%


a. PracticalCoursework Keyboard Skills are practically assessed while a written paper is required for Music Theory. Aural includes both written and practical aspects.

b. Journals


RequiredReading

Pratt, George. Aural Awareness, Open University Press, London, 1971


Practicalworkbookswillbesetbytheindividuallecturers.

RecommendedReading

Harder, Greg A. Basic Materials in Music Theory, Prentice-Hall, New Jersey, 2000

Harrison, mark. Contemporary Music Theory. Level 3, Hal Leonard, Milwaukee, 2001

Kraft, Leo. A New Approach To Ear Training: A Programmed course In Melodic and Harmonic Dictation, W.W. Norton, 1999

Manoff, Tom. The music kit: rhythm Reader and Scorebook, W.W. Norton A & Col, New York, 1994

Pratt, George. Aural Awareness, Open University Press, London, 1971


Warburton, Annie O. Graded Aural Tests For Al Purposes. Longman, London, 1971

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ModuleDescription

Students continue the study of the genres begun in Dance 1. An emphasis on more advanced technical work is addressed along with a greater understanding of style, along with the encouragement of more rapid and accurate learning of basic choreographic combinations. Greater strength and flexibility is also addressed along with stylistic accuracy.

DANCE 2 / LEVEL 2

ModuleCode PA2202

Credits 20

Status Compulsory


Semester 1 & 2

Weeks 1 – 30


ClassroomWork

150

PrivateStudy/Research

50

Total: 200


Aimsto• Introduce more complex and greater stylistic

range • Develop greater speed in processing

choreographic amalgamations.• Assist the students in gaining greater flexibility,

strength and stamina• Instil a greater awareness of safe dance practice

and physical awareness. LearningOutcomesOn successful completion of this module, students will:

• have a greater confidence in personal ability in dance.

• display a more advanced secure level of technical proficiency.

• comprehend the technical names and vocabulary in each dance genre.

• understand the needs of the choreographer and his/her expectations.

• display the ability to integrate the actor and the character into the dance.

At the end of Year 2, each student must have gained a pass in a least Level 2 of all dance components to continue into Year 3.

TeachingMethods• Practical class-work

Assessment

PracticalCourseworkClassicalJazzTapProduction Repertoire

25%25%25%25%


a. PracticalCourseworkAll four dance forms take place before a panel and include combinations of the syllabus studied over the year. An informal un-graded assessment is held at the end of semester one to allow both the student and the staff to identify and address problems before the formal end-of-year graded assessments.

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RequiredReading

Berkson, Robert. Musical Theatre Choreography, A & C Black, London, 1990

Howse, Justin. Dance Technique & Injury Protection, Routledge, New York, 2000

RecommendedReading

Duggan, Anne Schley. The Complete Tap Dance Book, University Press of America. Washington, D.C. 1977

Gay, Moyra. Modern Tap Technique, Imperial Society of Teachers of Dancing. London, 1976

Giordano, Gus. Jazz Dance Class: Beginning Thru Advanced, Dance Books, London, 1992

Gray, Acia. The Souls of Your Feet: A Tap Dance guidebook for Rhythm Explorers, Grand Weaver’s publishing. Austin, Tx. 1998

Hatchett, Frank, Frank Hatchett’s Jazz Dance, Human Kinetics, Champaign, Ill. 2000

Kislan, Richard. Hoofing On Broadway-A History Of Show Dancing, Simon & Shuster. London, 1987

Kraines, Minda Goodman, Jump Into Jazz: The Basics and Beyond for the Jazz Dance Student, Mayfield Pub. Mountain View, Calif. 2001

Lepecki, A. Of the Presence of the Body, London: Wesleyan University Press, 2004

Long, Robert Emmet. Broadway, The Golden Years, Continuum, NY, 2002

Medova, Marie-Laure. Ballet For Beginners, Sterling Pub. Co., New York, 1995

Spilkin, Terry. The Dancer’s Foot Book, Dance Horizons, Book. Princeton NJ, 1990

Stearns, Marshall Winslow. The Story of American Vernacular Dance, Da Capo Press, New York, 1994

Kriegel, Lorraine Person. Jazz Dance Today, West Pub. Co. Minneapolis, 1994

Sunderland, Margot & Ken Pickering. Choreographing The Stage Musical, J. Garnet Miller Ltd. New York, 1989

Vincent, L.M. A Dancer’s Book Of Health, Dance Books, London, 1980

Wessel-Therhorn. Jazz Dance Training, Aachen, Lansing, Mich. 1998


ModuleCode PA2203

Credits 20

Status Compulsory


Semester 1 & 2

Weeks 1 – 30


ClassroomWork

160

Writing 10

PrivateStudy 30

Total: 200

ModuleDescription

This module continues the building of the actors’ technical requirements and introduces a variety of non-naturalistic performance styles.

Level 2 acting engages much more with rich dramatic texts and consideration is structures, theme, mood, character and relationship. Students work beyond linear understanding and personalisation into deeper explorations of character and characterization.

Improvisation explores other non-verbal performance skills such as mask and mime. Voice work becomes more integrated into performance, along with a greater understanding of the actors’ body and movement.

ACTING 2 / LEVEL 2

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Aimsto• Introduce students to a practical acting

methodology. • Encourage students to use a variety of theories

to develop sustained character work• Develop the students’ awareness of their own

emotional, physical and imaginative resources. • Integrate the basic core skills of voice and

movement and acting in order to realise a dramatic performance.

• Introduce the works of non-naturalist playwrights and practitioners

LearningOutcomesOn successful completion of this module, students will be able to draw on:

• an understanding of theatre as a collaborative creative artistic process which challenges their intellectual, imaginative, emotional and physical abilities

• a working vocabulary of a greater variety of styles and genres

• an appropriate range of physical, vocal and performance skills

• an understanding of the interplay between theory and practice within performance work

• a range of analytic, reflective and communicative skills, informed by a practical understanding of the processes.

• the ability to present themselves with confidence and communicate effectively in writing and through oral and practical work

TeachingMethods• Critical session, Seminars, practical class-work,

practical presentations

Assessment

PracticalCourseworkActing Workshops 35%

PracticalPresentationPerformanceVoiceMovementImprovisation

20%15%15%

WrittenAssignmentsFinal Performance 15%


a. PracticalCourseworkStudents are assessed on quality of contribution, participation and practical presentations in Acting, Improvisation, Movement and Voice classes. Practical presentations set by the lecturer occur throughout the year. The end of year presentations are viewed by other lecturers in addition to the class teacher. It is expected the student’s ability to articulate and discuss their choices and to contribute in critical matters will be of a higher level than the previous year.

b. ResearchPortfolioA written assignment will be set on topics related to the texts being studied. The written work will be viewed mid year by the lecturer to ensure format and content are as designated. An informal un-graded assessment will be held at the end of semester one to allow both the student and the staff to identify and address problems before the formal end-of-year graded assessments.


RequiredReading

Berry, Cicely. The Actor And The Text, Virgin Books, London, 2000

Chekov, M. On the Technique of Acting, N.Y.: Harper Perennial, 1991

Davies, D. Garfield. Care Of The Professional Voice, Butterworth Heinemann, Boston, 1998

Playtextswillbeassignedbythelecturer.

RecommendedReading

Abrams, M.H. A Glossary of Literary Terms, Orlando FL: Harcourt Brace College Publishers, 1988

Atkins, Greg. Improv. A Handbook for the Actor, Portsmouth NH, 1982

Barrenger, Milly S. Understanding Plays, Boston: Allyn, 1990

Barnet, Sylvaio & Morton Berman & William Burto. Types of Drama, NY: HarperCollins, 1992

Benedetti, J. Stanislavski: an introduction. London: Methuen, 1982

Benedetti, J. Stanislavski and the Actor. London: Methuen, 1998

Benedetti, R. The Actor at Work, Allyn and Bacon, Boston, 1997

Bloom, Harold. Shakespeare. The Invention of the Human, NY: Riverhead Books, 1998

Braun, E. The Director and the Stage from Naturalism to Grotowski. London:Methuen, 1986

Braun, K. Theatre directing: art, ethics, creativity, N.Y. E. Mellen Press, 2000

Brook, P. There are no Secrets, London: Methuen, 1993

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Cassady, Marsh. Spontaneous Performance, Meriwether Pub., Colorado springs, Colo. 2000

Donnellan, D. The Actor and The Target, London: Nick Hern, 2002

Hagen, Uta. A Respect for Acting, Basingstoke: Macmillan, 1973

Hollberg, Arthur. The Theatre of Robert Wilson, London: Cambridge University Press, 1998

Hornby, R. The End of Acting. New York: Applause, 1995

Jacobs, Lee A. The Bedford Introduction to Drama, NY: St. Martin’s Press, 1989

Jones, C. Make Your Voice Heard, Back Stage Books, New York, 1996

Linklater, Kristen. Freeing the Natural Voice, Drama Book Publishers, 1976

McDonald, R. Shakespeare and the arts of language, Oxford: Oxford University Press, 2001

Meisner, Sanford & Dennis Longwell. Sanford Meisner on Acting, NY: Randon House, 1987

Merlin, Bella. Beyond Stanislavsky, Nick Hern, London, 2001

Moore, S. The Stanislavski System. Harmondsworth: Penguin, 1976

Novak, Elaine. Styles Of Acting, Pretice-Hall, Inc., Englewood Cliffs, NJ, 1985

Quennell, Peter & Hamish Johnson, Who’s Who in Shakespeare, London: Routledge, 1995

Richards, I.A. Principals of Literary Criticism, Lonndon: Routledge, 1995

Rodenburg, Patsy. The Need For Words. Voice & The Text, London: Methuen Drama, 1994

Rodenburg, Patsy. The Right To Speak, London: Mehtuen Drama, 1992

Seyler, Athene, & Stephen Haggard, The Craft Of Comedy, Theatre Arts Books, New York, 1957

Stanislavski, C. An Actor Prepares, Theatre Arts Books: New York, 1936

Stanislavski C. Building a Character. London: Eyre Methuen, 1979


ModuleCode PA2204

Credits 10

Status Compulsory


Semester 1 & 2

Weeks 1 – 30

IndicativeWorkloadpersemester(inhours)

ClassroomWork 72

Writing 20

PrivateStudy 8

Total: 100

ModuleDescription

This module includes a more specific study and exploration of the development of Musical Theatre.

Students examine musical theatre and its history and evolvement through discussions and research. The exploration of text, lyrics, music and context of the seminal works and their creators provide a secure knowledge base for performance. Continued examination of Dramatic Literature provides further analytical insights into both the literature and its writers.

ACADEMIC STUDIES 2 / LEVEL 2


Aimsto

• Provide a greater understanding of the antecedents and historical development of Musical Theatre.

• Highlight important works, composers and librettists in the development of the music theatre genre

• Examine the performance, stylistic and intellectual challenges posed by the great dramatic literature.

LearningOutcomesOn successful completion of this module, students will:

• have the ability to place their performance work in a more accurate historical perspective.

• possess a greater critical awareness of the structure and demands of the great works of the theatre.

• gained an ability to present themselves with confidence and communicate effectively in writing, oral and practical work

TeachingMethods• Lectures, seminars, practical class-work

Assessment

WrittenAssignment/SeminarPresentationMusical TheatreDramatic Literature

50%50%


a. PracticalCourseworkStudents are asked to give seminar presentations on assigned topics in the Dramatic Literature component.

b. PracticalPresentationThe topic and guidelines for this document will be set by the lecturer conducting the History of Musical Theatre component. Assessment criteria will include, comprehension of the subject, research skills, presented materials and the ability to express ideas. At mid year, Lecturers will seek to identify any students will difficulties and convey the details to the Programme Leader who will, in consultation with both student and Lecturer, seek to assist the student to solve the problems they may be encountering.


RequiredReading

Ganzl, Kurt. The Musical: A Concise History, North Eastern University Press, 1997

Miller, Scott. Rebels With Applause: Broadway’s Groundbreaking Musicals, Heinemann. Portsmouth NH, 2001

Specific texts will be assigned by the lecturer.

IndicativeBibliography

Banfield, Stephen. Sondheim’s Broadway Musicals, University of Michigan Press. Ann Arbor, 1993

Bawtree, Michael. The New Singing Theatre, Oxford University Press. New York, 1991

Citron, Stephen. Sondheim And Lloyd-Webber: The New Musical, Oxford University Press. New York, 2001

Engel, Lehman. Words With Music. The Broadway Musical Libretto, Schirmer Books. New York, 1972

Green, Stanley. Broadway Musicals of the 30s, Da Capo Press. New York. 1971

Hischak, Thomas S. Word Crazy: Broadway Lyricists From Cohan to Sondheim, Prager. New York, 1991

Jackson, Arthur. The Book of Musicals: From Show Boat to A Chorus Line, Mitchell Beazley. London, 1977

Mandelbaum, Ken. Not Since Carrie, St. Martins Press. NY, 1991

Mates, julian. America’s Musical Stage: Two Hundred Years of Musical Theatre, Praeger. Westport, Conn. 1987

Mordden, Ethan, Coming Up Roses. The Broadway Musical of the 50s, Oxford University Press. New York, 1998

Mordden, Ethan. The Happiest Corpse I’ve Ever Seen, Palgrave Macmillan, New York, 2004

Singer, Barry. Ever After: The Last Years of Musical Theatre and Beyond, Applause Theatre & Cinema Books, New York, 2004

Smith, Cecil & Glenn Litton, Musical Comedy in America, Theatre Arts Books. New York, 1981

Suskin, Steven. Show Tunes: 1905-1991, Oxford University Press, New York, 2000

Swain, Joseph P. The Broadway Musical: A Critical And Musical Survey, Oxford University Press. New York, 1990


ModuleCode PA2205

Credits 20

Status Compulsory


Semester 1

Weeks 1 – 15


Rehearsal/Performance 170

Writing 10

PrivateStudy 20

Total: 200

ModuleDescription

Level 2 offers a more comprehensive calendar of public performances.

The production schedule will offer a continuous performance programme and includes works of varying styles and genres. Along with existing works, it is intended that students are also given the opportunity to work with writers on new works.. An emphasis is also placed on rehearsal and performance protocol to the benchmark of industry standards. A weekly Performance Practice forum will be offered to allow the presentation of work either from either class study or personal work.

••CastingPolicyCasting will offer students the opportunity to experience principal, featured and ensemble roles. Due care is taken for students so that while proficient progressive development is provided the student is not exposed unduly to public scrutiny without a commensurate level of ability. Equal opportunity is in itself a way of providing support for the student by progressively exposing them in each developmental stage. All students audition for all Performance Projects at every level. This ensures the development of audition technique in all areas of study. The plays and musicals selected over the course of study allows every student to be assessed fairly with respect to the kind of roles given to them. When casting, the creative team consideration the skill level of students and aims to present opportunities for all students to adequately demonstrate the expected learning outcomes.

• •

PERFORMANCE 2A / LEVEL 2


Aimsto:• Provide the opportunity for the integration of

class work.• Offer the experience of audience action and

interaction.• Provide a safe and creative rehearsal process.• Encourage the development of a work process

for both personal and group needs.• Provide the basis for personal research.• Offer a forum for self generated work in the

weekly ‘Performance Practice’ class.

LearningOutcomesOn successful completion of this module, the student will:

• understand the rehearsal process.• have developed a systematic and effective work

method.• have begun to understand the need for flexibility

and adaptability.• begin to trust in his/her own judgements.• be able to provide the needs and requests of the

director and the production.

TeachingMethods• Rehearsals, performances, critical sessions

Assessment


40%40%

ResearchPortfolio 20%

AssessmentOutlinesStudent’s attendance, contribution, commitment are considered in addition to the following.

a. PracticalCourseworkDuring rehearsals, students are assessed on their ability to work both independently and as part of a group as well as their contribution and the ability to express ideas. Professional etiquette such as preparation of work, the ability to be flexible and adaptable to the needs of the director will also be assessed.

b. PracticalPresentationThe public performance programme begins in Level Two and the ability to consolidate and integrate the rehearsal work into a cohesive and secure performance is expected. All lecturers will view the performances and contribute to the assessment.

c. ResearchPortfoliosThis document contains aspects of the students’ research into the roles they have been assigned. It may also include research in all aspects of the production such as political and social context, associated arts and any relevant material that will inform the performance.

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RequiredReading

Robison, Kevin. The Actor Sings: discovering A musical Voice for The Stage, Heinemann, NH, 2000

RecommendedReading

Berry, C. The Actor And His Text, Virgin, London, 2000


Craig, David. A Performer Prepares, Applause, New York, 1983

Craig, David. On Singing Onstage, Applause Theatre Book Publishers. New York, 1990

De Mallet Burgess, Thomas. The Singing And Acting handbook, Routledge, London, 2000

Engel, Lehman. Words With Music: The Broadway Musical Libretto, Schirmer Books, New York, 1981

Green, Don. Fight Your Fear And Win, Broadway Books, New York, 2001

Howse, Justin. Dance Technique & Injury Protection, Routledge, new York, 2000

McKinney, James C. The diagnosis & Correction Of Vocal Faults, Broadman Press, Nashville, Tenn, 1982

Perry, John. The Rehearsal Handbook for Actors And Directors, Crowood Press, Marlborough, Wiltshire, 2001

Robin, Mitchell W. Performance anxiety: Adams Pub. Holbrook, Mass, 1995


Winter, William. Shakespeare On the Stage, B. Blom, New York, 1969


ModuleCode PA2206

Credits 20

Status Compulsory


Semester 2

Weeks 16 – 30


Rehearsals&Performances

170

Writing 10

PrivateStudy 20

Total: 200

ModuleDescription

The performance programme continues as in Semester 1. At this time, it is expected that students will have adopted a rehearsal and performance methodology, in addition to the confidence to take greater risks in the rehearsal room.

The ability to integrate the various technical skills should be evidenced by a more cohesive and seamless performance. It is expected that at this point in their training, the experience of working with a variety of directorial practitioners will enable them to adapt to their differing methods of work. The Performance Practice Forum will continue to offer further performance opportunities.

PERFORMANCE 2B / LEVEL 2

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Aims • To assist in further defining and refining all

aspects of production work.• To have provided each student with the

opportunity to experience roles in a variety of styles, size and complexity.

• Ensure that each student understands the rehearsal and performance procedure.

• Develop an understanding of both rehearsal and performance requirements.


• have the ability to work with confidence and generosity within a performing company

• understand the need for flexibility to accommodate the needs of each specific director, choreographer and musical director.

• possess the ability to draw on and integrate the skills and techniques studied in classes.

• display the ability to monitor and sustain each performance.

• Developed a consistency of performance

TeachingMethods• Rehearsals, performances, critical sessions

Assessment


40%40%

ResearchPortfolio 20%

AssessmentOutlinesStudent’s attendance, contribution, commitment are considered in addition to the following.

a. PracticalCourseworkDuring rehearsals, students are assessed on their ability to work both independently and as part of a group as well as their contribution and the ability to express ideas. Professional etiquette such as preparation of work, the ability to be flexible and adaptable to the needs of the director will also be assessed.

b. PracticalPresentationThe public performance programme begins in Level 2 and students are expected to develop the ability to consolidate and integrate the rehearsal work into a cohesive and secure performance. All lecturers will the performances and contribute to the assessment.

c. ResearchPortfoliosThis document contains aspects of the students’ research into the roles they have been assigned. This may also include research in all aspects of the production such as political and social context, associated arts and any relevant material that will inform the performance.


RequiredReading

De Mallet Burgess, Thomas. The Singing And Acting handbook, Routledge, London, 2000

Otherrequiredreadingandtextsissetbythedirectorialstaff.

RecommendedReading


Craig, David. A Performer Prepares, Applause, New York, 1983

Craig, David. On Singing Onstage, Applause Theatre Book Publishers. New York, 1990

Engel, Lehman. Words With Music: The Broadway Musical Libretto, Schirmer Books, New York, 1981

Green, Don. Fight Your Fear And Win, Broadway Books, New York, 2001

Howse, Justin. Dance Technique & Injury Protection, Routledge, new York, 2000

McKinney, James C. The diagnosis & Correction Of Vocal Faults, Broadman Press, Nashville, Tenn, 1982

Perry, John. The Rehearsal Handbook for Actors And Directors, Crowood Press, Marlborough, Wiltshire, 2001

Robin, Mitchell W. Performance anxiety: Adams Pub. Holbrook, Mass, 1995

Robison, Kevin. The Actor Sings: discovering A musical Voice for The Stage, Heinemann, NH, 2000


Winter, William. Shakespeare On the Stage, B. Blom, New York, 1969

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• •Successful completion of this level is awarded a Diploma of Higher Education in Musical Theatre, and graduates are equipped with skills and knowledge enabling them to enter employment within the Musical Theatre field. Through applying expressive technique and critical analysis and exercising transferable skills, a graduate will be able to chart a successful career in a wider arena. ThisDiplomaalsoqualifiesstudentstoproceedintoLevel3ofaBAdegree.

• •


ModuleCode PA3201

Credits 40

Status Compulsory

Prerequisites PA2201, PA2202, PA2203

Semester 1 & 2

Weeks 1 – 30


ClassroomWork 360

PrivateStudy 40

Total: 400

ModuleDescription

The final year of study consolidates the previous modules studied in the areas of Singing, Dance and Acting.

There are no Music components at the 3rd level. Students are now expected to be reasonably self-sufficient and possess the ability to draw on all their skills and resources and poses the ability to draw on all their resources in preparation for the Performance Project rehearsals. A weekly class introduces students to the specific requirements and vocabulary needed for Film/TV work.

The continuation of the weekly individual singing lesson ensures that all students are able to monitor their continued vocal health. In addition to the Musical Theatre repertoire students also study the contemporary vocal repertoire that is so often used in the genre today. Audition techniques are practiced, and students begin to compile an audition repertoire.Long-term vocal and physical well being is addressed as the students prepare to take total responsibility for the maintenance of their career skills.

PERFORMANCE SKILLS / LEVEL 3

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Aimsto• Offer continued practical and maintenance work

on the singing voice.• Assist in the continued development in all dance

techniques and styles.• Encourage the responsibility for personal

maintenance in all skills and techniques.• Encourage the continued development of a

repertoire of solo songs suitable for audition and performance.

• Provide practical knowledge and skills required for work in the industry

• Provide the information and experience to assist in the student’s theatre, film and TV auditions.


• demonstrate a mastery of the respective techniques, styles and terminologies at a professional standard.

• demonstrate the motivation, commitment and responsibility for his/her own learning.

• adapt technical skills to the respective styles as required.

• show evidence of an appropriate range of physical, vocal and performance skills

• demonstrate a secure and flexible singing technique that is adaptable in tone, range and colour.

• have acquired a knowledge of the terms, and skills needed for work in the film medium.

• Demonstrate the ability to execute the range of contrasting dance styles required by the current musical theatre performer

• Demonstrate an ability to act in both monologue and group scene work to a working professional standard

TeachingMethods• Practical class-work, Tutorials

Assessment

PracticalCourseworkSingingVoice Dance SkillsActing for Camera Acting

30%10%30%15%15%

AssessmentOutlinesThe aim of this module is to maintain the required skills while embarking on a more intensive performance programme.

Morning classes consist of Classical Ballet, Jazz, Tap, Song and Dance, Voice and Acting. Assessment will be made taking into consideration attendance and continued progress.

Acting for Camera is assessed by the lecturer with any Coursework footage viewed for comment by other staff members.

Singing assessment is assessed on the performance at the end of year vocal recital.


RequiredReading

Bernard, Ian. Film And Television Acting: From Stage To Screen, Focal Press, Boston, 1998

Lovell, Alan & Peter Kramer. Screen Acting, Routledge, London, 1999

RecommendedReading

Abbott, Leslie. Acting For film & TV, Star Publishing Co., Belmont CA, 1997

Barr, Tony. Acting for the Camera. Allyn and Bacon. Boston, 1982

De Brett, Tona. Discover Your Voice: learn To Sing From Rock to Classic, Schott. London, 1996

Dougan, Pat. Professional Acting In Television commercials: Techniques, Exercises, Copy, and Storyboards, Heinemann, Portsmouth, NH, 1995

Fisk, John & John Harley. Reading Television, Methuen & Co., London, 1980

Harmon, Renee. How to Audition for Movies and TV, Walker, New York, 1992

Mckinney, James C. The diagnosis & Correction Of Vocal Faults, Broadman Press, Nashville, Tenn. 1982

O’Brien, Mary Ellen. Film Acting, Aarco Publishing, New York, 1983

Reynerton, A.J. The work of The Film Director, Focal Press, London, 1978

Rodenburg, Patsy. The Need For Words. Voice & The Text, Methuen Drama, London, 1994

Shand, John & Tony Wellington. Don’t Shoot The Best Boy! The Film Crew At Work, Currency Press, Paddington, 1988

Stoloff, Bob. Vocal improvisation Techniques, Gerard & Sarzin Pub. Co., Brooklyn New York, 1996

Taylor, Malcolm. The Actor And The Camera, A.C., Black, London, 1994

Tucker, Patrick. Secrets Of Screen Acting, Routledge, New York, 2003

Vincent, L.M. A Dancer’s Book Of Health, Dance Books, London, 1980

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ModuleCode PA3202

Credits 15

Status Compulsory


Semester 1 & 2

Weeks 1 – 30


ClassroomWork 28

Writing 70

PrivateStudy 52

Total: 150

ModuleDescription

This module consolidates the students’ theoretical research skills and enables them to investigate in some detail an aspect of the performing arts that is of particular interest to them and relevant to their field of study.

This research represents the culmination of the students’ critical reflection on performance practices and gives them an opportunity to undertake a piece of independent, supervised work. The important distinction is that this is not an essay but an engagement with a supervisor in an Honours context. Students are allocated supervisors and meet their supervisors on a one-to-one basis.

The Performance Research Project consists of both practice and theory. The practical presentations can take any form but must be a minimum of 20 minutes/maximum 40 minutes in length and the written component to be a minimum of 3,000 words. Alternatively, the student may complete 4,000 word research paper with no practical presentation. This is worth 80% of the final mark. This final document and presentation is due in the assessment period of semester 2.

PERFORMANCE RESEARCH / LEVEL 3


During the assessment period of the Semester 1, students present a 20 minute seminar paper to their supervisors and the Programme Leader as a means of tracking their work in progress. This mid year seminar presentation and paper (approx 500 words) is worth 20% of the final assessment. All submissions must be discussed and agreed with the supervisor. The combination of academic and communicative skills, which are pivotal to the curriculum, shapes this final project.

Aimsto• To provide the opportunity and guidance needed

to create a research document• To assist in developing the student’s ability to

source research materials • To encourage exploration and enquiry to support

performance work.• To develop critical thinking, analysis and

discursive skills


• Undertake well-structured research relevant to the chosen field of study

• Communicate the aims, processes and outcomes of this research in performance, oral and written presentations

• Articulate through the analysis of their chosen topic a critical understanding of theatre craft and performance

• Demonstrate an understanding of the importance of context in theatre practice

• Interpret and examine the relationship between theatre practice and critical reflection

• Demonstrate an ability to act in both monologue and group scene work to a working professional standard

TeachingMethods• Seminars, tutorials, supervision

Assessment

WrittenAssignment 80%

SeminarPresentation 20%

AssessmentMethodsa. Seminarparticipation

Students are assessed on the thoroughness of their preparation to speak fully and meaningfully at their Seminar presentation, to receive criticism and present reasoned arguments for their research processes and ‘positions’.

b. WrittenAssignmentThe document is assessed on the depth and quality of the research, the critical analysis of the material and the student’s ability to write and present a well-structured research document in clear, precise, readable academic language. The work is assessed on its capacity to assert itself as significant to the student’s development as a thinking performer.

AssessmentOutlinesThis document may consist of expanded data from a previous subject of the student’s choosing, subject to the approval of the Programme Leader.

The document may contain not only written material but any appropriate visual and aural material or design work that may support the subject. If a performance component is included the assessment breakdown is as follows:

• Written–60%• Performance–40%

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RequiredReading

Allison, B. The Student’s Guide to Preparing Dissertations and Theses, London: Kogan Page, 1997

Berry, R. The Research Project; How To Write It. (4th ed.) Routledge, London, 2000

Otherbooksandtextswillbedictatedbythechosenworkandthespecificroleassignedtoeachstudent.

RecommendedReading

Allison, B. The Student’s Guide to Preparing Dissertations And Theses, Routledge, London, 2000

Bell, J. Doing Your Research Project (2nd Ed) Milton Keynes, 1993

Carr, W & S. Kemmis. Becoming Critical, Falmer, Sussex, 1986

Hult, Christine A. Researching And Writing: Across The Curriculum, Allyn and Bacon, Boston, 1996

Irving, Ann. Study And Information Skills Across The Curriculum, Heinemann Educational Books, Portsmouth, N.H. 1985

Rice, Ronald E. Accessing And Browsing Information And Communication, MIT Press, Cambridge, Mass. 2001

Orna, Elizabeth. Managing Information For Research, Open University Press, Buckingham, UK, 1995

Rowland, Robin. The Creative Guide To Research: How To find What You Need – Online or Offline, Career Press, Franklin Lakes, NJ, 2000

Furtherreadinglistsaresuggestedfortheresearchprojects.


ModuleCode PA3203

Credits 5

Status Compulsory


Semester 1 & 2

Weeks 1 – 30


ClassroomWork 30

Writing 10

PrivateStudy 10

Total: 50

ModuleDescription

This module is designed to prepare students for entry into the professional world of a performer.

An overview of Arts and career Management will provide an understanding of the skills needed to maintain a career in the performing including an understanding of contracts and the role of the agent. Financial accountability is also addressed through the study of budget preparations and funding applications.

CAREER MANAGEMENT / LEVEL 3

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Aimsto• Introduce students to the business needs of the

professional performer • To provide an understanding of the nature of

agents and contracts • Introduce the process of producing productions

to the highest industry standards.• Engage in the collaborative process of a

production• Engage in a range of simulated theatre company

activities including the application for arts funding LearningOutcomesOn successful completion of this module, the student will:

• Display an understanding of basic arts management procedures.

• Comprehend the application process as required by funding bodies.

• Understand the fundamental requirements for secure personal career management.

• Possess the ability to create a thorough and accurate budget sheet.

• Present a CV, cover letter and repertoire list to professional standard

TeachingMethods• Lectures, seminars, practical presentations

Assessment

WrittenAssignment 100%

AssessmentOutlinesThis module consists of a series of lectures, seminars and practical presentations presented by a variety of industry personnel. The specific tasks will be set by each lecturer and dictated by the subject.


RequiredReading:

Dunmore, Simon. An Actor’s Guide To Getting Work, A & C Black, London, 1996

Merlin, Joanna. Auditioning: An Actor Friendly Guide, Vintage Books, New York, 2001

Other texts are assigned by the lecturers conducting the module.

RecommendedReading

Alterman, Glenn. Promoting Your Acting Career, Allworth Press, New York, 1998

Cotterell, L. Performance – The Business and Law of Entertainment, Sweet & Maxwell, 1993

Fill, Chris. Marketing Communications (2nd Ed.) Prentice-Hall, New York, 1999

Freakley, V. & R. Sutton. Essential Guide to Business In The Performing Arts, Hodder & Stoughton. UK, 1996

Henry, Mari Lyn & Lynne Rogers. How To Be a Working Actor. M Evans & Co. Inc.: New York, 1986

Hill, E et al. Creative Arts Marketing, Butterworth-Heinemann Ltd., UK, 1995

Hines, Terrance. An Actor Succeeds: Career Management For the Actor, S, French, Hollywood, CA, 1990

Hunt, Gordon. How To Audition: TV, Movies, Commercials, Plays, musicals, Harper & Row, Publishers. New York, 1977

Hoffman, Basil. Cold Reading And How To Be Good At It. Dramaline Publications, Rancho Mirage, Calif. 1999

Kotler, P & J. Scheff. Standing Room Only: Strategies For Marketing The Performing Arts, Harvard Business School Press, Boston, 1997

Mapleson, Peter. Auditioning For Musicals, Currency Press. Sydney, 1994

Merlin, J. Auditioning: an actor-friendly guide. N.Y.: Vintage Books, 2001

Oliver, Donald. How To Audition For the Musical Theatre, Drama Book Publishers. New York, 1985

Proctor, T. Essentials O Marketing Research (2nd Ed.), Prentice-Hall, New York, 1997

Salt, Chrys. Make Acting Work, Bloomsbury, London, 1997

Kotler, Philip. Marketing the Performing Arts, Harvard Business School Press, 1997

Silver, Fred. Auditioning For The Musical Theatre, Newmarket Press. New York, 1985

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ModuleCode PA3204

Credits 30

Status Compulsory


Semester 1

Weeks 1 – 15


Rehearsals&Performances 260

Writing 10

PrivateStudy 30

Total: 300

ModuleDescription

This module continues the process of developing the repertoire of public performances and the works chosen offer greater complexities and challenges to the performers.

All musicals presented at this level are fully staged productions. All the previous classes and performance work inform and enrich these final year performances. The ability to function in an accepted and professional manner is expected at all times during rehearsals and performances. The ability to thoroughly research the work is expected to enable debate and open and creative flexibility on the rehearsal floor. The ability to take, process and integrate direction on a continuing basis is a necessity.

PERFORMANCE 3A / LEVEL 3


Aimsto• Offer the opportunity to work at a level

commensurate to the profession in all aspects. • Relate research, practice and performance.• Provide the opportunity to work with a variety of

directorial personnel.• Adapt to the individual choreographer, director

and musical director and his/her needs.• Address audition requirements and techniques as

they are presented.• Continued opportunity to participate in the

weekly ‘Performance Practice’ class. LearningOutcomesOn successful completion of this module, the student will:

• Integrate the skills of acting, singing and dance to a high level as demonstrated through individual and group performance

• possess the skills to present themselves with confidence and communicate effectively through practical work

• create, rehearse and perform a variety of works in a consistent and methodical manner with appropriate style and imagination.

• demonstrate a range of analytic, reflective and communicative skills, informed by a practical understanding of the processes inherent in production

• develop and generate solo and group work

TeachingMethods• Rehearsals, Performances, Critical Session

Assessment


40%50%

RehearsalPortfolio 10%

AssessmentOutlinesIn this final year of study, students are expected to conduct themselves to accepted industry standards of rehearsal and performance protocol.

a. Rehearsals At this level, students are expected to take more responsibility for preparation and the presentation of ideas within the rehearsal process.

b. Performance All directorial staff meet to discuss and agree upon the student’s grading for each production.

c. ResearchPortfoliosThis document contains aspects of the students’ research into the roles they have been assigned. It may also include all aspects of the production such as political and social context, arts and any relevant material that will inform the performance.

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RequiredReading

Corson, Richard. Stage Makeup, Englewood Cliffs, NJ: Pretice-Hall, Inc. 1986

Mandarino, N. Actor As Artist, L.A.: Mandarino, 1991

Requiredreadingandtextsisdictatedbyeachproductionandsetbythedirectorialstaff

RecommendedReading

Bawtree, Michael. The New Singing Theatre, Oxford University Press, New York, 1991

Cassady, March. Spontaneous performance, Methuen Merivether Pub. Colorado Springs, Colo. 2000

Craig, David. A Performer Prepares, NY: Applause, 1993

Craig, David. On Singing On Stage, NY: Applause

Engle, L. Words With Music. The Broadway Musical Libretto, Schirmer Books, New York, 1972


Kosarin, The Singing Actor

Mitter, Shomit, Systems of Rehearsal, New York: Routledge

Rich, Frank. Hot ßeat: theatre Criticism For The New York Times. 1980-1993, Random House, New York, 1998

Rubin, D (ed.) The World Encyclopaedia of Contemporary Theatre, Vols.1-6, London, N.Y.: Routledge, 1994-2000

Stanislavski, C. Creating A Role, Eyre Methuen, London, 1980

Westmore, Michael. The Art of Theatrical Makeup for Stage and Screen, New York: McGraw-Hill Book Co., 1973


ModuleCode PA3205

Credits 30

Status Compulsory


Semester 2

Weeks 16 – 30


Rehearsals&Performances 260

Writing 10

PrivateStudy 30

Total: 300

ModuleDescription

Students will focus this semester preparing the graduation musical and the industry showcase. Both students and staff will create the showcase to highlight the particular skills of each individual student.

They will also be guided and instructed on all the needs for a successful entry into the international performing industry. This will be assisted by the knowledge acquired in the ‘Career Management’ module.

At the completion of the Showcase, all students will have the confidence to take on the responsibility of both the performance and management of their future careers.

PERFORMANCE 3B /LEVEL 3

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Aimsto• Offer the opportunity to work at a level

commensurate to the profession in all aspects. • Relate research, practice and performance.• Adapt to the individual choreographer/director and

his/her needs.• Address audition requirements and techniques.• Produce a performance to attract interest within

the industry.• Offer the opportunity to assist in the creation of a

personal showcase performance. LearningOutcomesOn successful completion of this module, the student will:

• Integrate the skills of acting, singing and dance to a high level as demonstrated through individual and group performance

• possess the skills to present themselves with confidence and communicate effectively through practical work

• create, rehearse and perform a variety of works in a consistent and methodical manner with appropriate style and imagination.

• demonstrate a range of analytic, reflective and communicative skills, informed by a practical understanding of the processes inherent in production

• develop and generate solo and group work

TeachingMethods• Workshops, Rehearsals, Performances, Critical

Session

Assessment


40%50%

Research Portfolio 10%

AssessmentOutlinesIn this final year of study, students are expected to conduct themselves to accepted industry standards of rehearsal and performance protocol.

a. Rehearsals At this level, students are expected to take more responsibility for preparation and the presentation of ideas within the rehearsal process.

b. Performance All directorial staff meet to discuss and agree upon the student’s grading for each production.

c. ResearchPortfoliosThis document contains aspects of the students’ research into the roles they have been assigned. This may also include all aspects of the production such as politics, the arts and any relevant material that will inform the performance.


RequiredReading

Cole, Susan Letzler. Playwrights In Rehearsal. The Seduction Of Company, Routledge, New York, 2001

Myer-Dinkgrafe,D. (ed.) Who’s Who In Contemporary World Theatre, London: Routledge, 2000

Required reading and texts will be dictated by each production and set by the directorial staff

RecommendedReading

Bawtree, Michael. The New Singing Theatre, Oxford University Press, New York, 1991

Cassady, March. Spontaneous performance, Methuen Merivether Pub. Colorado Springs, Colo. 2000

Cole, Susan Letzler. Playwrights In Rehearsal. The Seduction Of Company, Routledge, New York, 2001

Corson, Richard. Stage Makeup. Englewood Cliffs, NJ: Pretice-Hall, Inc. 1986

Craig, David. A Performer Prepares, NY: Applause, 1993

Craig, David. On Singing On Stage, NY: Applause

Engle, L. Words With Music. The Broadway Musical Libretto, Schirmer Books, New York, 1972

Hoffman, Basil. Cold Reading And How To Be Good AT It. Dramaline Publications, Rancho Mirage, Calif., 1999


Kosarin, The Singing Actor

Mapleson, Peter. Auditioning For Musicals, Currency Press, Sydney, 1994

Mitter, Shomit. Systems of Rehearsal, New York: Routledge

Rich, Frank. Hot ßeat: theatre Criticism For The New York Times. 1980-1993, Random House, New York, 1998

Stanislavski, C, Creating A Role, Eyre Methuen, London, 1980

Westmore, Michael. The Art of Theatrical Makeup for Stage and Screen, New York: McGraw-Hill Book Co. 1973

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• •Successful completion of this level is awarded a BA (Hons) Musical Theatre, and graduates are equipped with developed skills and substantial knowledge enabling them to enter professional employment within the international Musical Theatre industry, where it is expected they have the potential to make a significant contribution to its future.

Through application of expressive technique and critical analysis and by exercising transferable skills, a graduate will succeed in various areas of the performing arts and in a wider arena, not only as performer and collaborator but also as creator and leader.

ThisDegreealsoqualifiesstudentstolaterproceedintofurtherstudiesatMasterslevel.

• •

/ 1

suPPlementary infOrmatiOn

APPENDIX I• Programme Management

APPENDIX II• Academic Structure – Levels, Modules and Credits

APPENDIX III• Example Assessment Forms

/ 2SUPPLEMENTARy INFORMATION

The Programme LeaderThe Programme Leader is responsible for the management of the programme, including such duties as:

• admission to the Programme,

• supervision of the Programmes stated objective,

• implementation of assessment procedures,

• liaison with programme tutors,

• monitoring and maintenance of student’s records.

The Module CoordinatorEach module is organised by a Module Coordinator who is responsible for organising the teaching and learning strategies used to deliver the module. They supervise the contributions of other lecturers and practitioners and are responsible for assessment procedures.

Tutorial SupportEach student is allocated a tutor who is responsible for monitoring the academic progress and pastoral needs of the students. Tutorials give students the opportunity to discuss the negotiated aspects of their learning and the tutor looks after their general welfare, identifying and clarifying for the student the role of the different support systems and agencies within the College.

The role of the tutor includes:

• monitoring academic progress and study skills.

• monitoring personal development.

• maintaining records on tutorial meetings.

• writing academic or official references.

• advice on personal problems.

• reporting to the Dean of Faculty and Programme Board.

PrOgramme management

APPENDIX I


Administrative RecordsMarks are recorded for every assignment and every module. These records are required for Examination and Assessment Boards. A file is compiled for each student and supervised by the Programme Leader in conjunction with the Programme Administrator. The files are kept centrally and managed by the faculty Academic Officer. Students have access to these records by appointment.

There are four types of assessment records:

• Written assignment reports

• Practical assignment reports

• Module summary reports

• Assessment Board reports

Programme Review BoardThe Programme Review Committees are responsible to the relevant Dean of Faculty for reporting on the academic quality and management of the learning provided on the programme.

Specifically, the Committee is responsible for the:

• review of Programme outcomes.

• review of the aims and objectives of the Programme.

• ensuring quality of provision by maintenance of academic standards.

• preparation of the information required for the Faculty Review of the Programme and its development.

• making recommendations to the relevant Faculty Board on matters relating to the effective organisation and administration of the Programme including resources.

The composition of the Board is:

• Programme Leader (who will be Chair).

• Dean of Faculty.

• Lecturers assigned to the Programme.

• Student Representatives from each year of the programme.


Meetings will take place after a period of study, normally a semester, and are constituted and conducted to ensure that the students as a body and as individuals can properly participate in a fair and open evaluation of the activity they have engaged in. Each meeting prepares a programme-specific Report and Action Schedule.

Faculty MeetingsThese meetings are convened to consider Programme review material and to prepare the Faculty Report. The Report will include programme review material related to the following evaluation and action points.

These relate to the six areas covered by the Quality Assessment Guidelines:

• marketing, recruitment and progression data.

• aims, rationale and structure of the programme.

• student assessment profiles.

• examiners’ reports.

• student feedback.

• module tutors’ reports.

The meetings will also consider any other matters relating to other academic, administrative or service departments within the College and any external agencies directly or indirectly involved in the delivery of programmes.

The meetings consolidate Action Schedules to be appended to the faculty Monitoring Reports.

Membership includes:

• Dean of Faculty (who shall be Chair).

• All relevant staff directly or indirectly involved in the delivery of the programmes being discussed.

• One student representative of each year of each full-time programme.

/ 5

Faculty BoardsReports from Programme and Faculty Meetings are submitted to the Faculty Board. The Board in turn confirms a consolidated minuted report, which is received by the Academic Quality Assurance Committee (AQAC) from where a copy of the report with any minuted comments from AQAC, is passed to the Academic Board for consideration.

The membership of the Board includes:

• Dean of Faculty (who shall be Chair)

• Secretary - Faculty Administrator

• Programme Leaders

• Other Academic Coordinators

• The College Librarian

• One member of permanent staff from the Faculty• One Student Representative of each year of full-

time provision of the Faculty (no more than one student from any programme)

• Ex-officio Dean of Academic Development


aCademiC struCture

The structure of the majority of the academic programmes offered by the College is based around a three year undergraduate degree structure. The three years are usually referred to as Levels, 1, 2 and 3.

APPENDIX II

– LEVELS, MODULES & CREDITS

/ 7

Entry PointsMany of you will enter at Foundation or pre-degree, which is perhaps confusingly referred to as Level 0. In most cases, the Foundation Year is a prerequisite for entry to Level 1 (there are exceptions – BA (Hons) Acting and Musical Theatre have no Foundation pathways).

Many of you will have entered at Level 1, ie. have already studied up to a level equivalent to Foundation.

So, to summarise;

• if you start at Foundation and graduate with a Degree with Honours with you will be at the College for four years

• if you start at Level 1 and graduate with a Degree with Honours you will be at the College for three years.

Beyond the undergraduate programmes there are opportunities for postgraduate study in most subjects. You should refer to the Postgraduate Student Handbook for further details.


Modules and CreditsAs discussed above, your programme will be structured in levels, each equivalent to one year of study. In addition, all programmes use modules as basic academic building blocks. A module is essentially a block of teaching and learning.

• •Each module is based on a particular topic or area of study – the title will describe the broad area – and is designed to be a self-contained, coherent block of learning. The description of each module will outline the content, the aims and objectives, the intended learning outcomes – ie what we expect you to have learnt on completion of the module – the assessment tasks used to determine your understanding of the material studied.

• •

You will find descriptions for each of the modules that make up your programme in Section C of the Handbook.

A short explanation about the module code might also be useful. Each module has a unique two character, four digit reference. So, an example, PA1101:

PA

The characters refer to the faculty responsible for the module – in this case Performing Arts.

1The first digit indicates the level – 0,1,2, 3, or M (M is postgraduate)

1The second digit identifies the programme - in this case Acting

01

The last two digits is reference for the module itself.

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All programmes offered by the College use what is called the Credit Accumulation and Transfer System (CATS for short). This system is based on a credit tariff. Each module has a prescribed number of credits attached to it and as you progress through the programme and successfully complete each module you accumulate credits. The system used by LASALLE is based on 120 credits per year. There is a broad relationship between credits and the number of teaching and learning hours – one credit is equivalent to ten hours of teaching and/or learning. So, a module rated at 30 credits will have 300 teaching and learning hours. It is important to remember that the accumulation of credit is not directly related to marks. You gain credit by successfully completing the module. The mark you receive as a result is quite independent.

The introduction of modular structures and credit frameworks was designed to give students flexibility of learning and a typical modular structure will give students a variety of options at certain points in a programme. This is not the case at LASALLE where the programmes are highly specialised and offer little or no options in terms of module choice. However, you will be given considerable freedom to choose the context of your practical project work.

The CATS is designed to ensure students accumulate the necessary amount of learning and enables the extent of their learning to be measured should they seek to transfer to another pathway or programme. Again the specialist nature of our programmes means that it is difficult to make radical changes to your chosen pathway but there are limited opportunities and you seek guidance on this should you feel another discipline might be more appropriate. Credit accumulation also means that you have a basis for quantifying your learning should you decide to take a break and then return to your study or should you decide to move to another institution.


samPle assessment fOrmsPlease refer to the attached document(s).

APPENDIX III

PA-Musical Theatre March 2009

Documents

Transcript of PA-Musical Theatre March 2009