VIOLA FOR VIOLINISTS (SAMPLE DOCUMENTATION RE: INSTRUMENTAL PURCHASES SCREENED BY CURRICULUM COMMITTEE)
Contents for File #333:
a) proposal (specifying the purchase of 6 violas)
b) syllabus (attached to the proposal as part of the curriculum packet); Catalog language specifies that the instrument is provided.
c) Curriculum Committee meeting minutes for 18 Sept 2006
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REQUEST FOR ADDITION TO CURRICULUM
BLAIRSCHOOL OF MUSIC
Date received: 9/11/06File # 333
Curriculum Committee Action: approved as amended Date: September 18, 2006
Faculty Action:approved Date: November 6, 2006
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1. Subject or performance area: Strings/viola
2. Course number: n/a2a. Course title: Viola for Violinists
2b. Expected enrollment: 3Enrollment cap, if any: 6
3. Petitioner: Kathryn Plummer
4. Proposed instructor, if different from #3:
(Note: credentials for potential new hires should be submitted.)
5a. Required xElectiveCredit hours: 1
If required, in what degree program?
6. Reason for addition:
More violinists are seeking to play the viola. Learning to play the viola and acquiring a broad knowledge of the viola repertoire increases the violinist’s versatility, offering more opportunities both in school and later in his/her career.
7. Description for catalog, including pre-requisites, if any. Clarity and concise language are important; the current catalog may be used as a model.
Technical principles, practices and strategies for violinists learning viola. Investigation of solo and chamber music repertoire; historical evolution of the viola.
Minimum prerequisite: Approval of violin instructor and course instructor.
8. Attach a repertoire list, program of study, or syllabus. Grading criteria should be included.
9. What further, special expanded instructional resources will be needed? Consider books, scores, recordings, instruments, technology, space, faculty hires, etc. — whatever is relevant to the pedagogical needs of the course.
Course can be taught in my studio 1187
Violas and music excerpts provided by Blair
Viola for Violinists by Dr. Dwight Pounds
10a. Has the Director of the Music Library been consulted? no
10b. Has the Assistant Dean in charge of scheduling been consulted? no
10c. Has the Dean authorized any necessary expenditures? Yes. 6 custom made violas have been purchased by Blair and are ready to be played
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Syllabus
Viola for Violinists
Instructor: Kathryn PlummerCredit Hours: 1
Catalogue Description
Technical principles, practices and strategies for violinists learning viola. Investigation of solo and chamber music repertoire; historical evolution of the viola. Viola provided.
Minimum prerequisite: Approval of violin instructor and course instructor
Course Objectives
This course will
- Enable violinists to fluently read alto clef
- Enable violinists to critique and reproduce technical adjustments for playing the viola
- Include coaching of repertoire from standard solo, chamber and orchestral (solo) music
- Provide a survey of major repertoire for the viola
- Provide a survey of recordings and videos of major violists
- Provide an overview of the historic development of the viola
Repertoire taken from (but not limited to):
Bach Suites, Bach Brandenburg Concerto No. 6, Bartok Concerto, Bartok 6 String Quartets excerpts, Bartok 44 Duos 2 Violas, Bloch Suite Hebraique, W.F. Bach 3 Duos for 2 Violas, Berlioz Harold in Italy (solo viola excerpts), Brahms Sextet in B Flat, Brahms Sonatas in F Minor and E Flat, Brahms String Quartet No. 3 excerpts, Bruch Romance, Hindemith Sonata Op. 25 No. 1, Hindemith Der Schwanendreher, Hindemith Trauermusik, Hoffmeister Concerto in D Major, Hummel Fantasy, Marais Five Old French Dances, Mozart 10 Celebrated String Quartets excerpts, Mozart Duo in G Major and B Flat for Violin and Viola, Mozart Sinfonia Concertante in E Flat (solo viola excerpts), Stamitz Concerto in D Major, Stamitz 6 Duos for 2 Violas, Schumann Märchenbilder, Shostakovich Sonata, Strauss Don Quioxte (solo viola excerpts), Telemann Concerto in G Major, Telemann Concerti for 4 Violas, Weber Andante and Rondo Ongarese, Walton Concerto
Requirements
Punctual attendance and active participation
Completion of all performance, listening and written assignments
Performance (final exam) of two contrasting movements from a Bach Suite
Viola for Violinists by Dr.Dwight Pounds. Cost is $19.95
Evaluation
Class participation and weekly progress70% Final Examination 30%
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c) Curriculum Committee meeting September 18, 2006 [MINUTES]
Called to order at 12:10
Present: Emelyne Bingham (chair), Joy Callico, Cynthia Cyrus, Jane Kirchner, Cassie Lee, Kathryn Plummer
The minutes were approved without emendation.
File #333:Kathryn Plummer petition to add Viola for Violinists
The motion passed with the following emendations:
Changes in the written proposal: in course objectives change violinist to violinists;
in catalogue description strike “by Blair School of Music. Class size limited to 6 students per semester,” and change wording to “approval of violin instructor and course instructor”
Does course belong under groupperformance instructionor other instruction course, what are the differences between the two? Is emphasis on performance or did it present a significantly broader knowledge base?
Objectives are different between group performance instruction and other instruction, group performance course provides mainly basic skills and itis designated for non majors
Viola for Violinists should go under other instruction category, MUSO, what number would be appropriate? 116 was suggested
File 332: David Childs petition to add MUST 114: Seminar in Choral Literature
Background:
Initial proposal had large choral works such as Britten War Requiem, Brahms Requiem; suggestions were made to David to find more appropriate and practical repertoire;David submitted a different list of repertoire, striking the Britten and Brahms.
Former Blair graduate, Kelly Winter, was contacted by phone and consulted about what kind of repertoire list she wished had been provided through her Blair education, a list that would be more helpful in her job. She wanted a list with more specific arrangements for varied groups in size and voices.
The repertoire list from the American Choral Directors Association website was studied and there seemed to be a disjunct between David’s proposed course repertoire and the K-12 repertoire list from the ACDA, the latter being more pragmatic and practical approach to repertoire.
Much discussion about whether the course could be modified into an upper division MUSL course instead of an MUST; if MUSL, it would need to be 3 credits, not 2 and it would need pre-requisites (theory 3 or 4); it would need more detail; a writing aspect; vocal MA students could benefit from an upper division MUSL course and a MUST course, but probably MA5 students would not be able to do both courses…
Would David want to offer the course as a MUSL?
The genesis of the course was to give the MA5 students helpful course.
The 2nd proposal does not seem considerably different from earlier proposal, perhaps there is a lack of understanding what MA5 students in America will face; MUST is a pressing issue.
Committee liked the course but recommended more discussion with David about the unsolved issues. Consultation with Hazel and Pam and other experts was recommended. And it was suggested the MA5 Committee revisit the vocal segment of the MA5 program, to discuss the vocal profile
The meeting was adjourned at 11:55.
Respectfully submitted,
Kathryn Plummer