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所在平台: Coursera |
课程主页: https://www.coursera.org/learn/music-ensembles
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课程名称：音乐合奏排练基础 课程概述：学习和实践有效的音乐合奏排练的基本原则。所学的技巧和策略适用于各种合奏团体，包括乐队、管弦乐团、合唱团和室内乐团。 课程大纲： 第一部分：排练导论 本周讨论排练的基本哲学问题，如排练的目的、所需技能及指挥作为“作曲家的代言人”的角色。介绍宏观-微观-宏观的概念，并讲解基本的指挥技巧。 第二部分：与合奏团的沟通 本模块讨论曲目选择，如何定义优质音乐并选择平衡的、富有音乐性的节目。学习指挥技巧的语法，特别是开始和停止乐曲的技巧，同时介绍如何通过各种交流策略有效传达音乐意图。 第三部分：排练工具包介绍 本周继续探讨左手技巧，扩展动态手势，并解释“排练工具包”的概念。这是一个应对音乐问题的工具集合，除了直接的语言和比喻外，还可以通过手势和其他工具获取音乐反馈。 第四部分：发声、平衡与音色 本模块专注于指挥工作中至关重要的部分——乐谱学习。深入掌握乐曲的每一个方面，提高自己对音乐的解读、指挥、排练和表演能力。 第五部分：乐句处理 探讨乐谱标记的争议，分析标记如何提高排练效率与合奏团的连接。讲解不同类型的延长音及其在多种指挥情况中的应用。 第六部分：伴奏指挥与音准 本模块讨论排练计划和伴奏指挥技巧，并介绍与音准相关的工具及技巧，涵盖振动音、谐波和音律等声学概念，帮助指挥者理解如何实现良好的音高。最后，涵盖保护听力、讲台使用等其他排练主题。 通过本课程，学员将获得在各种音乐合奏中进行有效排练的必要工具与策略。
Part: 1
Title:An Introduction to Rehearsing
Description:This week, Module 1, we’ll discuss basic philosophical issues such as: What we do in rehearsals, what skills are needed, and the idea of the conductor as “the composer’s advocate.” I will also introduce the concept of Macro-Micro-Macro, which serves as the overarching principle of rehearsals. Then we will move on to basic conducting technique.
Part: 2
Title:Communicating with the Ensemble
Description:Module 2 begins with a discussion about repertoire: how to define quality music and how to choose a balanced, musically nourishing program. Building on the topics of Module 1, this week’s conducting technique videos focus on the grammar for starting and stopping pieces. In the rehearsal technique videos, the overarching topic is how to communicate with the ensemble to convey musical intent. Essentially, the idea is to give musical instruction, but there are a range of strategies we must master to be effective in all situations.This week introduces those strategies and organizes them according to modes of instruction, including performance technique, adjectives, analogy, and modeling.
Part: 3
Title:Introducing the Rehearsal Toolkit
Description:Week 3’s material begins with more left hand technique, expanding on the concepts introduced in Module 2 and continuing with gestures to show dynamics. The section on rehearsal technique begins with an explanation of the ‘Rehearsal Toolkit,” a collection of ideas, or “tools,” each designed to fix a musical issue. Rehearsal tools are meant to supplement the modes of instruction that were discussed last week. In other words, in addition to using direct vocabulary, modeling, and metaphor and analogy, these tools can elicit musical responses when gesture and words fail. A caveat: all of these approaches depend on the musicians having the technique required to perform the repertoire. This may seem obvious, but the fanciest baton twirl and colorful analogy are meaningless to help, say, a trumpeter, perform staccato if he does not tongue properly and employ good embouchure. Fundamentals must be taught, either in or out of the rehearsal, and the appropriate method depends on the level and age of the musician in the ensemble.Module 3 concludes with multi-purpose tools, including singing and “bopping.” These are the Swiss-Army knives of rehearsal technique, each useful for a variety of issues, from articulation to balance to rhythm. As you acquire the tools discussed in this module, also consider what else you can put in your toolbox. What techniques do you currently use? What tools can you borrow from other musicians? The more options we have in rehearsal the more likely we will be to solve a musical problem.
Part: 4
Title:Articulation, Balance, and Tone
Description:Module 4 begins with perhaps the most crucial task a conductor undertakes: score study. Score study is the umbrella term for the process of thoroughly learning a score-- not just knowing how to sing the melody or memorizing phrases and meters--but learning every aspect of the music that may come to bear on our ability to interpret, conduct, rehearse, and perform it. Unlike many grammatical aspects of conducting, score study is a time-consuming, immersive activity for which it is normal to develop one’s own process, assuming the end result is a deep understanding of the work.
Part: 5
Title:Phrasing
Description:Module 5 begins with a discussion about score marking, a topic that is controversial by some ways of thinking. One school of thought suggests that scores should never be marked with cues and other information, since doing so reflects a deficit in score study on the piece. Another school believes that judicious marking enhances our efficiency in rehearsal and allows for better connection with the ensemble. This module also includes detailed explanations of the three types of fermatas that were introduced in Module 4: caesura, release-in-tempo, and continuation. It is worth spending extra time on these techniques, as the skills involved in preparing, sustaining, and releasing each one apply to a variety of conducting situations, including cues, rubato, and accompanimental conducting. For rehearsal strategies and the rehearsal toolkit our topics are phrasing and dynamics. As with many other topics in this class we can only touch the surface in terms of depth, but I hope there will be a few ideas to begin filling your rehearsal toolkit.
Part: 6
Title:Accompanimental Conducting and Intonation
Description:Module 6 (our final week!) begins with a brief discussion about planning rehearsals, moves to techniques for accompanimental conducting, and then dips into the Rehearsal Toolkit for intonation strategies. The intonation section includes an introduction to overtones, harmonics, and temperaments. These are acoustic concepts for which at least a basic understanding is useful for knowing how to achieve good pitch. It’s a fascinating topic, and a great example of how we can apply science to art. The final few videos cover a miscellanea of rehearsal topics, including protecting one’s ears, the use of a podium, and set-up issues.
Learn and practice the basic principles of running an effective music ensemble rehearsal. Techniques and strategies are applicable to a variety of ensembles, including bands, orchestras, choirs, and chamber groups.
