To train dancers to be intelligent and sensitive through theoretical conservations and in-class inquiries. 4. To elucidate and expose the true cultura...

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APPENDIX G. ARTISTIC SYLLABUS o LASALLIAN YOUTH ORCHESTRA SYLLABUS DESCRIPTION: The group is composed of strings section, comprised of violin, viola, cello, wind section which includes: flute, clarinet, saxophones, trumpet, horn, trombone; rhythm section, namely: drum set, keyboard, guitars; and vocals section. In addition, the group includes PR and Marketing staff to facilitate publicity and funds for the organization’s activities. The group plays a wide range of music from classical to contemporary. OBJECTIVES AND VALUES: Being a member of the Orchestra, they are expected to:  understand the fundamentals of music  read musical pieces quickly and effectively  display confidence and alertness while performing on stage  instill the virtues of spirituality, honesty, obedience, and discipline among members METHODS AND STRATEGIES: All playing members are expected to attend rehearsals such as:  regular full orchestra rehearsal (every U Break and Saturday)  sectional rehearsal (common time with each sections)  individual rehearsal (depend on the availability of members)  night rehearsal (as required by the conductor) A. 1. 2. 3. 4. 5. B. 1. 2. 3. 4. 5. 6. 7.

Intonation All Scales Chromatic Alterations Seventh position Wide intervals Double stops Rhythm Sixteenth note rhythmic pattern Simple to compound meter Multi-meter Varying tempo Tie Dotted values Syncopation

C. Articulation 1. Bowing/Breathing (for winds) 2. Phrasing 3. Legato playing 4. Accents 5. Staccato 6. Pizzicato (strings) 7. Trills 8. Tremolo (strings) 9. Ghost/crash notes 10. Harmonies 11. Staccato 12. Pizzicato (strings) ppp

13. Trills 14. Tremolo (strings) 15. Ghost/crash notes 16. Harmonies D. Dynamics 1. Crescendo/Decrescendo 2. Sforzando 3. Piano 4. Forte 5. Mezzo-forte 6. Pianoforte 7. Fortepiano o HARLEQUIN THEATRE GUILD SYLLABUS OUTLINE: PERIOD ACTIVITIES May – August

September December

January – April


 Production Design Workshop  Textual Analysis  Basic Acting (Units and Objectives)  Voice and Theatrical Singing  Theatre/Play Production Exposure  Movement and Dance Workshop  Basic Acting  Basic Integrated Arts Input (Props, Set, Costume, Lights and Music)  Theater/Play Production Exposure

 Dramatic Reading (minor production)  Theatre Production (minor production)  Play watching  3 Songs/Original Music Composed  Production Design Layout  Night of the Arts  Playfest  Play Watching

 Movement  Textual Analysis  Basic Acting  Basic Integrated Arts (Set, Costume, Music, Sounds)

 Major Production

o DLSU CHORALE SYLLABUS PROGRAM DESCRIPTION: This program will suggest that artistic activity, when properly understood, can provide not only a way out of impasse which in musical appreciation in its self an unimportant matter, but also an approach to the restructuring of music as a form of artistic expression, that combine the study of fundamentals of music with performance activities. PROGRAM PURPOSE OVERVIEW: Each program topic integrates creative and singing activities, and the development of performance skills with the study of some music theories, and, likewise, planning in advance local concerts and performances and international competitions and performances. qqq

OBJECTIVES/VALUES: At the end of the program, the members are expected to manifest: 1. Competency in understanding the principles of music and in choral performance activities 2. Creative attitudes and active-listening approach towards the rudiments of vocalization and harmonization. TOPICS: Please refer to program content matrix. CONCEPTUAL STRUCTURE: Lectures and discussions will be done during the first meeting. In this way we show the many ways a piece of music can be actively listened and performed to and develop an increase appreciation for these works as they become more and more familiar. Succeeding meetings would involve vocalization and planning activities for local and international performances and competitions.



COVERAGE  Program rationale, objective, content

SKILLS  mental mapping

 Vocalization

 Proper usage of vocal chords and diaphragm  Proper breathing  Proper usage of vowel in singing

 Vocalization

 Voice Placement

 Voice Placement  Enunciation of words in singing  Ear Training with harmony

 Synthesizing  Vocalization

 Harmonization

 Simple Songs for Singing  Harmonious singing

 Synthesizing

 Harmonious Vocalization

 Application of slight vibrato  Hard choral pieces  Support and resistance through advance vocalization

 Harmonious vocalization


VALUES Appreciation of the importance of the program Appreciation of the proper usage of vocal chords, proper breathing in singing, proper usage of vowel in singing Appreciation of the proper voice placement, enunciation in singing and ear training  Appreciation of the essence of harmonious vocalization, simple songs for singing  Strengthen the ability for harmonious singing Appreciation of the harmonious vocalization

METHOD  Lecture  Discussion




 Vocalization


 Listening Activity  Vocalization


 Individual singing  Group singing



 Individual Singing  Group Singing



CHORALE PROGRAMME TOPIC OUTLINE (CONTINUATION) TOPIC COVERAGE  BUILDING UP  Classical REPERTOIRE  Madrigals (Accompanied  Sacred and  Inspirational Unaccompanied)  Negro Spirituals  Contemporary  Pop  LOCAL CONCERTS  Christmas Concert AND (December) PERFORMANCES  Anniversary Concert (August)  Valentine Concert (February)  Out-reach Concerts (to be determined)  International  USA Performances Competitions and  European Competitions and Performances Festivals b.) Mixed Choir Competition c.) Folkloric Competition d.) Light Music Competition e.) Contemporary Music Competition

SKILLS  Analysis  Synthesizing

VALUES Appreciation of different kinds of musical repertoire

METHOD  Discussion  Overhead Projector

 Application

Appreciation of the performance activities

 Application  Note taking

Appreciation of joining competitions




Local Concerts and Performances


International Competitions


o DE LA SALLE INNERSOUL SYLLABUS I. TONE a. The Basics b. The Head  The Throat  The Face  The Neck c. Vibrations d. Chest and Head Tones e. Nasality f. Vibrato g. Voice Range h. Exercises II.

BREATHING a. The Lungs b. Posture c. Breathing a. Side Expansion b. Back Expansion d. Exercises



BLEND a. Definition of Blend b. Foundations c. Active Listening d. Rhythm, Tempo, Dynamics e. Exercise


PERFORMANCE a. Choosing the right songs for right occasions b. Internalization c. Gestures and Choreography d. Eye contact  Locus  Audience Rapport e. Styling  Costume  Make-up


SHOW PRODUCTION a. Production Meeting a. Brain Storming  Show Concept  Date and Time  Venue  Repertoire  Production Team  (artistic director, music director, tech.. dir.,

DICTION a. The Mouth a. The Tongue b. The Teeth b. Vowels and Consonants c. The “th’s”, “is’s”, “r’s” d. Exercises

 Dressing room  Crew c.Ticket Selling d. Souvenir Programme (writing, editing, layouting, printing) e. Technical Supervision  Stage  Designs  LX, SND, EFX (haze/smoke machine, confetti, etc.)  Set/Properties (carpentry) f. Rehearsals  Regular Rehearsal  Technical Rehearsal  Dress Rehearsal  Critic/Media Night

writer, designers) Designs (Stage, Set, Poster, ticket, Costume, Light)  Technical Requirements  Publicity and Promotions  Marketing  Ushering/ticketing  Beneficiary (if applicable)  Documentation  Merchandise b. Finalization of Production c. Delegation of Responsibility b. Project Management a. Project Proposal b. Scheduling  rehearsal 


    

g. Performances  Ushering  Box Office  Merchandising h. Post Production  Accounting and Liquidation  Final Documentation  Project Evaluation  Acknowledgements  Turning-over of Donations to the Beneficiary (if applicable)

script writing and reading costume measurement/fitting set/stage construction publicity and promotion photo shoot c. Budgeting d. Division of Labor e. Reservations f. MOA with Beneficiary (if applicable) c. Actual Production a. Sponsorship b. Stage Management  Backstage

o LA SALLE DANCE COMPANY CONTEMPORARY SYLLABUS Description: A progressive training with focus on Contemporary will equip the student artist information, technique, knowledge and understanding of dance as a performing art. A course that will nurture the passion of the artist in dance and will enhance movement sensitivity as a way of communication and declaration of culturally-significant concepts and ideas. Objectives: 1. To present an introduction to the basic knowledge in dance; theory, technique, and significance. 2. To technically develop dancers through rigid physical exercises. 3. To train dancers to be intelligent and sensitive through theoretical conservations and in-class inquiries. 4. To elucidate and expose the true cultural, and thus, artistic importance of dance. 5. To introduce and train the students in the rudiments of Jazz as a technique. 6. To produce semi-professional, if not professional, dancers out of the student artist members. Class Outline: Primary Stretches/Warm-Up Breathing with Jazz hands and squats – to rhythmically prepare breathing and warm leg and arm muscles. Isolations: done in 2nd feet position parallel Head – for warming up and stretching neck muscles Shoulder – for arms to be able to prepare for full range of motion Torso and Stomach – for warming the lower back muscles and engaging the abdominal muscles Tabletop to bend forward and Plie pulses in 2nd parallel – preliminary warm up for the thighs and arms through a body alignment exercise Body Roll to bend forward and Plie pulses to Releve’s in 1 st parallel – warm up for thighs and primary warm up for calves and arches. Also a preliminary centering/balancing exercise. Side Bends with Long Jazz Arms, to flat back and leg stretches, in 2 nd parallel – for full range of motion of the torso, arms and neck vvv

Spine twists in 2nd Plie position – for full torso twisting motion, engaging spinal column and back muscles Bent forward leg stretches in 2nd – intermediate leg muscle stretch and warm up Barre and Combination Exercises Pile - leg strengthening, centering, and body alignment exercise done in four feet positions; 1st, 4th, 5th and 2nd. Also augmented by jazz arm position exercises. Releve – on-toe exercise for alignment centering and stability Tendu – for proper pointing reflex of the foot and strengthening of the inner thighs Passe – pelvic turn-out exercise Rond de Jambe – strengthening of the leg muscles for extensions and exercising the pelvic joints and ligaments for extended range of motion. Battement – for proper body alignment and execution of kicks. Developpe – advanced exercise for kicks and extensions Forced arch – extended foot stretch to augment proper Releve form Ripple-down ,Roll-up – back relaxation and proper isolation Combinations – combination of dance movements that precedes the Barre exercise. This is done to develop muscle memory, stamina, agility, sharpness, sensitivity, sensuality and familiarity to the Jazz genre. Some of the techniques incorporated in the combinations are as follows; Pique, Chaine, Pas de Bourre, Lay-out, Contractions, Saute, Lunges, Ball-change, Jete, Drops, Recoveries, Battement, Develppe, Attitude, Arabesque, Isolations, Sissone, Roll, Spiral or Pretzels, Pike jumps, Jazz walks, Tombe, Gallops and Triplets. Lunges – strengthening and stretching of the leg muscles after rigid use with the Barre and combination exercises. Calf Raises – for relaxation of Calf muscles Push up – upper body strengthening (pectorals, lats and triceps) Floor Exercises Crossed Swastika Spine Twists – advance spine twist and pelvic exercise Frog Position Bending Exercise – advance turning-out-of-the-legs exercise Sitting, Reach Forward Exercise – intermediate stretching on legs and back muscles Crossed Swastika Leg Stretch – intermediate leg extension exercise Front Thigh Stretches and Pulses – advance leg extension exercise for quadriceps Open Second Sitting Stretch and flex – advance leg extension exercise Maximum Second Position Extension Stretch – advance leg extension exercise Right and Left Splits Sit up variations – for strengthening the abdominal muscles Back bend – for extended range and strength back muscles Round Back Turtle Stretch – relaxation of back muscles after previous exercise Pulsed Leg Stretches – relaxation of thigh muscles in preparation for the succeeding exercises Adage Combination of slow, controlled and sustained movements for strength and extension. This exercise focuses on proper positions and proper transition between them. Through suspensions, contractions www

and control, the dancer will develop the proper flow of movement for slow and graceful choreographies. Modern dance techniques and classical ballet forms are also augmented to the Jazz motions and style. Corners/ Across the Floor Kicks/Battement/Developpes variations – exercise for maximum extension, strength and sharpness of leg movements Jumps/Leaps variations – for leg strengthening and proper form on air (e.g. Jete, Sissone, Saute, Gallop, Stag, Double Attitude, Jazz Sissone and leap turns) Jazz walk variations – for proper walking technique Run and Hop variations – for proper traveling technique and for space maximization Turns and variations – on the floor or on air, this is to train the students on the basics, through advance, of turning such as; Chaine, Piquet turns, Barrel turns and jumps, tour, Tour en l’air, Tour Jete, Hitch turns, Triplets, Axle jumps and turns, en dedans, en dehors, Fouette and Pirouettes. Group Combination Combination of movements from all the exercise done during the class. This is done with two groups performing a, around, one minute piece to be choreographed right there and then after the turns. Here the muscle memory of the dancer is trained, also all that has been learned throughout the class will be applied and mastered during this portion. The class ends with everybody dancing the choreographed steps. o LA SALLE DANCE COMPANY STREET SYLLABUS Rationale: Streetdance as a competitive activity has demands on the participants similar to that of an athletic sports and such important things should be considered in preparing the dancers for their competitive training. Streetdance defined: Streetdance is an umbrella term constituting jazz, bebop, jam, breakdance, groove, ethnic, capoiera, wushu and other creative movements but taking in groove and hip hop as its basic movement. Its movement is characterized by regular and syncopated beats making the discipline more movement and energy intensive. Objectives of Training:  to provide a venue for creative expression with supervision in various forms and styles of streetdance.  to provide an alternative dance-based fitness activity  to give good theoretical and practical background on the dance in general and develop a critical eye concerning stage performance in particular  to give members a chance to begin, continue or enhance their dance skills and to expose them to various styles of streetdance  to develop individual talents and instiil in them the values of discipline, temwork, thoroughness and the like;  to enrich and develop members’ experience by promoting the club and the college through actual performance; and,  to create and promote active fellowship among themselves, with others and with God through civic activities and biblical ministries. xxx

Format of Training: Warm-up  prepares muscle groups and systems for activity  elevates heart rate and temperature  increases circulation and breathing rate Conditioning  hi-intensity warm up  prepares the body for the skills that will be taught for the training Stretching  it’s a preventive way for the muscles tighten after the body conditioning  improves flexibility on pertinent joints  decreases the chances for injury Core section  technique training  forms and skills  center combination  corner-to-corner exercise  choreography technique training includes: hand positions, basic wave, poppin’ and lockin’, animation, throbbing, glides and floats. skills may include, but not limited to, breakdance stunts, capoiera stunts, pantomime, struts and the like. Cool down  effects are opposite of warm up  prepares the body for rest  decrease heart rate, temperature and breathing  decrease muscle soreness  stretch Skills check, technique and new routine will be done every two weeks of training. They will be checked according to improvement and discipline during and outside training. Moreover, additional exposure such as competition, concerts will be graded through their reaction papers as to measure their critical eye on the said events.