Course: 202/402/502: Flute Choir

Instructor: Brian A. Luce, D.M.A.

Office: Music Building, Room 236

Phone: (520) 621-7015

E-Mail: bluce@u.arizona.edu

Web Site: http://www.brianluce.net

Office Hours: see web site

Course Description

The Flute Choir performs transcribed and original works on and off campus throughout the semester. Open to any flutist. Prerequisite: Permission of instructor.

Course Process

Week 1 - Mid-Term

· Evaluation of each ensemble member's performance proficiency (i.e. sight reading, tonal flexibility, intonation perception/audiation, application of performance practice, general physical strength, etc.,) and application of appropriate repertoire.

· Weekly coached rehearsal

· Performances as they arise

Mid-Term - Finals Week

· Weekly coached rehearsal

· Performances as they arise

· Recording of one or more works

Outcomes

Weekly rehearsal and performance provides each ensemble member a synthesis of music history, music theory, performance practice, physiology, acoustics, rehearsal techniques, recording skills, and communication skills specific to their instrument. These skills are vital to both professional and vocational musicians for music performance and teaching. The student will gain increased mastery of ensemble performance while cataloging his/her musical and pedagogical growth.

Required Materials

The student must have an instrument that is mechanically sound. Alto and bass flutes will be provided by the School of Music.

The students will utilize repertoire that is prescribed by the instructor throughout the semester. These materials must be owned or on loan from a lawful party in accordance with copyright law, U.S. Title XVII.

Evaluation and Attendance

There are two areas that will determine each student’s grade for the semester. These are: attendance and maintenance of professional decorum.

Attendance (90%)

As with all ensembles, attendance is crucial to rehearsals and performance. Professional protocol regarding punctuality and attendance will be expected of all students. Notification of any absence and anticipated tardiness must occur within no less than three hours prior to any rehearsal. Proper documentation of illness, university-related activity, or family emergency must be presented to the instructor to excuse an absence. All holidays or special events observed by organized religions will be honored for those students who show affiliation with that particular religion. Absences pre-approved by the UA Dean of Students (or Dean's designee) will be honored.

Inexcusable absence from public performance will result in failure of the course. Inexcusable tardiness to a performance will result in lowering of the final grade 10 percent. In general, professional punctuality is exhibited by readiness to begin rehearsals before the ensemble intonation check. In performance, the professional is prepared to play fifteen minutes before the performance time.

INFRACTION	REHEARSAL	PERFORMANCE
inexcusable tardiness	1/3 of inexcusable absence	10% deducted from final grade
1 inexcusable absence	no penalty to final grade	failure of the course
2 inexcusable absences	10 % deducted from final grade
3 inexcusable absences	30 % deducted from final grade
4 inexcusable absences	failure of the course

Professional Decorum (10%)

All musicians in a variety of roles (performer, educator, adjudicator) are subject to a code of conduct, which has developed throughout history. The foundation of this code relies upon the musician’s respect for other colleagues, superiors, and the music itself. There is no tolerance in the professional musical environment for any musician’s behavior or lack of preparedness, which detracts from the rehearsal process or the performance event. It is expected of all musicians to prepare adequately, rehearse and perform with the utmost in flexibility, and listen to and respect not only their superiors, but their peers as well. This respect will manifest itself in rehearsals of great efficiency and performances of great integrity.

Students with Disabilities

If you anticipate the need for reasonable accommodations to meet the requirements of this course, you must register with the Disability Resource Center and request that the DRC send the instructor official notification of your accommodation needs as soon as possible. Please plan to meet with the instructor by appointment to discuss accommodations and how the course requirements and activities may impact your ability to participate. Course: MUS 350A: Flute Techniques

Instructor: Brian A. Luce, D.M.A.

Office: Music Building, Room 236

Phone: (520) 621-7015

E-Mail: bluce@u.arizona.edu

Office Hours: By Appointment

Course Description

The course presents class instruction of flute, including materials and procedures for teaching this instrument in the public schools.

Grading:  Regular grades are awarded for this course: A B C D E.

Prerequisite(s):  open to majors only.

Course Process

Due to the brevity of the course with only 12 classroom meetings, each will have specific emphasis and require consistent attendance.

Meeting Lecture/Objective Evaluation

1 Introduction, philosophy, acoustics, respiration attendance

2 Embouchure, assembly, and harmonics attendance

3 Overtone production, fundamental octave modeling of harmonics

4 Embouchure stability and respiration 1-octave G1 major scale

5 Alignment/position and finger motion 1-octave F1 major scale

6 Articulation styles and respiration 1-octave B-flat major scale

7 Second octave/register tone production 1-octave C1 major scale

8 Third octave/register tone production 1-octave D1 major scale

9 Multiple articulation, respiration 2-octave E-flat∆ , F∆ scale

10 Vibrato, intonation, chromatic fingerings 2-octave G and C major

11 Intonation tendencies, instrument scale, 2-octave D∆, C∆, and

fourth octave/register tone production D1 chromatic scales

12 The flute section and the piccolo Written final exam due

2-octave B-flat∆, A-flat∆,

D-flat∆, and C1 chromatic

scales

Outcomes

The student will have a thorough knowledge of the basic concepts of flute playing, including respiration, embouchure, position/alignment, finger motion, and articulation. The student will be able to successfully demonstrate this knowledge by modeling flute playing for his peers. Furthermore, the student will be able to diagnose performance problems and suggest solutions.

The student will have an understanding of the acoustic and aerodynamic properties of the flute and the specific pedagogy that must be applied to teaching this instrument. Classroom instruction will be discussed with particular emphasis placed upon the semantics of flute teaching.

The student will gain understanding of the intonation tendencies of the flute, with specific consideration of the instrument’s scale construction, and its effect upon the flute section. A discussion of the piccolo, regarding performer embouchure requirements and pitch perception, will consider the instrument’s impact upon ensemble intonation and sonority.

The student will understand psychoacoustic perceptive differences between the performer, instructor, and student. The student will demonstrate this knowledge through classroom laboratory instruction of his peers utilizing language specific to flute instruction.

Required Texts

Dietz, William, et al. Teaching Woodwinds, A Method and Resource Handbook for

Educators. New York: Schirmer Books, 1998.

Required Materials

A flute that is in good working order which can be obtained from the instrument rental office.

Evaluation and Attendance

Absences: All absences will be considered unexcused unless written (paper or electronic) notification is received in advance, with the exception of emergency situations. No penalty will be assessed except for the missed playing evaluations, which are considered late assignments.

Tardiness: Tardiness is inconvenient and disruptive to the learning environment of the classroom. No penalty will be assessed except for missed playing evaluations, which are considered late assignments.

Late Assignments: Any playing evaluation that is missed may be taken outside the classroom on the same day of the class meeting. This must be performed in the instructor’s studio only if he has time available within his schedule. Any playing evaluations that are not satisfied within these criteria will receive a grade of 0%, with the exception of emergency situations. The written final exam must be received no later than the last class meeting, with the exception of emergency situations.

Grading: Modeling via playing evaluation 60%

Instruction and modeling via laboratory classroom teaching 30%

Written Final Exam 10%