STANDARD COMPETENCIES:

 

 I.      Analyze the four mechanistic functions that unite breathing and phonating to expand and develop the free, natural vocal instrument.

 II.     Explore the energizing system comprising the mechanism of power consisting of the inhalatory-exhalatory system housed in the head and the torso.

 III.    Examine the vibratory system being the laryngeal mechanism itself.

 IV.     Activate the resonator system made up of a series of cavities in changing relationships with laryngeal tone.

 V.      Coordinate the articulatory system activated by the teeth, cheeks and the tongue, which modify the activities engendered by the respiratory-phonatory complex.

 VI.     Operate all four modes of activity interdependently to produce a beautiful vocal timbre.

 VII.    Develop an individual systematized series of vocal and body exercises to optimize the natural vocal apparatus functioning.

 VIII.   Utilize Feldenkreis body awareness, alignment and relaxation techniques to decrease body blocks.

 IX.     Compare the varieties of onset and release which will best promote dynamic muscle equilibrium.

 X       Formulate vocal exercises that coordinate the thoracic diaphragmatic and abdominal aspects of respiration.

 XI.     Incorporate vocal exercises that promote agility, focus and articulation.

 XII.    Determine vocal category by range and timbre.

 XIII.   Enhance pitch development through soffeggio.

 XIV.    Select musical theatre songs for auditions according to voice category, genre and script analysis.  (Refer to Competencies A, B, E, G)

 XV.     Recognize and use music theatre genre information in the audition song selection and preparation process.

 XVI.    Categorize audition songs suitable to a particular vocal range, dance, character, acting capabilities and genre requirements and utilize this information in selection process.

 XVII.   Evaluate audience demographics and determine style suitable for final performance.

 XVIII.  Combine acquired vocal, movement, script and genre analysis techniques in master class performances.

 XIX.    Apply vocal skills of breath management, focus, articulation and resonance.

 XX      Incorporate genre inquiry into character development, movement and staging.

 XXI.    Amplify the character¿s emotional life by developing sub-texts.

 XXII.   Elucidate the script through visualization of operative words including stress and restressing of syllables.

 XXIII.  Perform song selections to demonstrate technical and artistic proficiencies.

 XXIV.   Write a critique enumerating the strengths and weaknesses of each performance and incorporate techniques to increase efficiency of delivery skills.

 XXV.    Work with other students to prepare a staged mini-musical presentation from the previously selected and rehearsed musical selections.

 XXVI.   Write a script to bridge each selection into mini-play.

 XXVII.  Choreograph and stage dialogue, musical selections and ensemble numbers.

 XXVIII. Prepare copy for program including the selection of appropriate title, program notes and credits.

 XXIX.   Acquire lighting, prop, video, make-up and costume needs.

 XXX     Present final dress rehearsal to finalize and fine-tune the performance.

 TOPICAL OUTLINE:

 

 I.      Exploring the energizing system

         A.      Sternum

         B.      Intercostal muscles

         C.      Ribs

         D.      Diaphragm

         E.      Lungs

         F.      Thoracic Cage

         G.      Abdominal, Gastric, Umbilical regin

 II.     Examine the vibratory system

         A.      Larynx

         B.      Vocal folds (true and false)

         C.      Trachea

 III.    Explore the Resonator system

         A.      Soft palate

         B.      Hard palate

         C.      Posterior wall of the pharynx

         D.      Vellum

         E.      Nasal pharynx

 IV.     Examine the articulatory system

         A.      Tongue

         B.      Cheeks

         C.      Oral pharynx

         D.      Laryngeal pharynx

 V.      Combine all four modes into an interdependent production of a vocal tone

 VI.     Develop a systematized body warm-up

         A.      Practice Feldenkreis techniques to establish smooth muscular movements.

         B.      Concentrate on removing body blocks

         C.      Incorporate a variety of body stretches to strengthen muscular elasticity.

         D.      Rehearse body alignment exercises.

 VII.    Develop a systematized vocal warm-up

         A.      Formulate a system of vocal exercises to increase breath management, focus, resonance and articulation: include onset and release applications.

         B.      Utilize solfeggio To enhance pitch development.

         C.      Rehearse vocal techniques to free the natural apparatus.

 VIII.   Choose musical theatre songs according to vocal category, genre and script analysis.

         A.      Research American Musical Theatre History.

         B.      Prepare a term paper on a recognized musical theatre writing team, listing their musical achievements and how they furthered the concept of the American Musical.  Include information about American and European History and descriptions of period dress, furniture and artwork.

         C.      Discuss genres and their importance to staging and choreography.

         D.      Evaluate criteria, which determine best style for presentation such as audition requirements and audience demographics.

 IX.     Review songs as monologues.

         A.      Analyze false speech patterns.

         B.      Discover operative words, stresses and restressed syllables.

         C.      Clarify script through visualization of operative words.

         D.      Incorporate genre research to further develop characterization, movement and staging.

         E.      Create sub-texts to commit to the character¿s emotional life.

 X       Perform song selections during in-class master class performances.

         A.      Demonstrate technical and artistic proficiencies.

         B.      Present oral recommendations for improvements based on technical and artistic understanding.

 XI.     Create a script to incorporate all the songs into a mini-play.

         A.      Classify repertoire by genre and audience demographics.

         B.      List possible selections for ensemble production numbers.

 XII.    Rehearse and perform individual and group selections and dialogue in master class performances.

         A.      Discuss the staging and choreography for the show.

         B.      Plan the program notes and credits.

         C.      Recommend costumes, props, and lighting for the show.

         D.      Critique performances by oral recommendations and individual self-analysis.

 XIII.   Deliver a final presentation before an invited audience.

         A.      Evaluate performance as a class technically, interpretatively, individual presentation and ensemble commitment.