Module Availability

Semester 2

Assessment Pattern

Choice of weighting. EITHER:
Solo performance (10-15 minutes) AND ensemble performance (5 minutes)* - 70% and 20%
OR
Solo performance (5 minutes) AND ensemble performance (10-15 minutes)* - 20% and 70%
Reflective diary (1,500 words) - 10%

Reassessment method:
Ensemble work will be replaced by written coursework

Qualifying Conditions
At least 60% in either Performance 2A or Performance 2B, or an average mark of both if appropriate; and the permission of the Module Co-ordinator

Module Overview

The purpose of this module is to help you continue to extend your independent learning skills in your individual instrumental/vocal discipline, and to enable you to capitalise on and develop further your performing skills as a solo and an ensemble performer.

In addition to your assessed performance you will be required to perform at least once on an unassessed basis

All performance assessments at HE3 will be held in formal concerts

Ensemble performances must have between 2 and 5 players in total

Prerequisites/Co-requisites

Pre-requisite: Performance 2a or Performance 2b; or (exceptionally) audition

Module Aims

To develop further a range of skills as both solo and ensemble performer.
To explore your own interests in repertoire, and to discover further areas of repertoire new to you.

Learning Outcomes

By the end of this module you should be showing:

A thorough understanding of the need for and purpose of a professional approach to music-making.
An ever-increasing range of technical/musical skills appropriate to your repertoire and suitable as a foundation for further study.
A significant number of your own practice and rehearsal techniques, and confidence applying them appropriately without guidance.
A deeper understanding of the range and appropriateness of interpretative decisions, and the ability to apply these decisions with confidence.
Strong self-confidence on stage and the ability to cope with contingencies of performance.
Ease and command in communication with your audience.
Secure appreciation of the workings of concert protocol, and an understanding of the need for it.
A high level of awareness, sensitivity and understanding as an ensemble participant.
A high level of responsiveness to the musical needs of other performers.
A wide knowledge and in-depth understanding of the range of repertoire available to you, and appreciation of its place in musical history.

Transferable skills:

Team-working.
Time management.
Non-verbal communication.
Independent learning.
Team leadership.
Team building.
Self-confidence and assurance.
Ability to make quick and intuitive critical judgments .

Module Content

Participation in rehearsals and concerts, both as solo and ensemble player.

Methods of Teaching/Learning

Individual tuition.
Individual practice.
Concerts (both as audience and as participant).
Rehearsals (both with and without a conductor).
Coaching in small groups.
Performance seminars.
Performance practice.
Private listening.
Tutorials.

Selected Texts/Journals

Recommended Reading:
Brown, Clive, 2003: Classical and Romantic Performance Practice 1750-1900 (Oxford: Oxford University Press).
Butt, John, 2002: Playing with History: The Historical Approach to Musical Performance(Cambridge: Cambridge University Press).
Day, Timothy, 2000: A Century of Recorded Music: Listening to Musical History(New Haven, Conn.: Yale University Press).
Gallwey, Timothy, 1986: The Inner Game of Tennis (Basingstoke: Pan Macmillan).
Gordon, Stewart, 2006: Mastering the Art of Performance: A Primer for Musicians (Oxford: Oxford University Press).
Green, Barry, and Gallwey, Timothy, 1987: The Inner Game of Music (Basingstoke: Pan Macmillan).
Inglis, Ian, 2006: The Performance of Popular Music: History, Place and Time (London: Ashgate).
Jones, Katie, 2000: Keeping your nerve – Confidence Boosting Strategies for Musicians and Performers (London: Faber Music).
Lawson, Colin, and Stowell, Robin, 1999: The Historical Performance of Music: An Introduction(Cambridge: Cambridge University Press).
Leppert, Richard ed. and McClary, Susan ed. 1996: Music and Society: The Politics of Composition, Performance and Reception (Cambridge: Cambridge University Press).
Mackworth-Young, Lucinda, 2000: Tuning in - Practical Psychology for Musicians who are Teaching, Learning and Performing (Swaffam: MMM publications).
Taruskin, Richard, 1995: Text and Act: Essays in Musical Performance (Oxford: Oxford University Press).
Williamon, Aaron, 2004: Musical Excellence: Strategies and techniques to enhance performance (Oxford: Oxford University Press).

Last Updated

CW 18/3/11