Music On Stage: Opera and Musical Theatre from Orfeo to Matilda - Year 2 - AIM2313

Assessment 1: Oral presentation/assessment

Participation in TWO small-group presentation assignments on a variety of      topics, spaced over the course of the module.

Presentations

Assessment 1: Portfolio

Portfolio of exercises. Short written or multiple-choice exercises relating to the theoretical, critical, and analytical underpinnings of the module and structured as part of preparation and/or consolidation work for teaching sessions.

Portfolio

Assessment 2: Written Assignment

Written Assignment. An essay relating to the central thematic strands of the module, on a topic selected from a list provided by the module tutor and illustrated by a case study or case studies of the student’s choosing.

Written Assignment

Music on Stage explores the changing relationship between music and drama in opera and musical theatre of the principal Western traditions from the early 1600s to the present day.  With musical and dramatic considerations often felt to be in conflict, the creation of a musical stage work requires composers and librettists to find ways of reconciling or simply harvesting that tension productively.  Each generation has approached this aesthetic challenge differently and in ways that are shaped by the demands of patrons and audiences, style and convention, genre and institutions, and politics and censorship.  This module invites you to explore these issues within a broadly chronological framework engaging with a series of illustrative works from performance, compositional and cultural-historical perspectives.

School of Arts and Humanities

<a href="http://library.hud.ac.uk/my/AIM2313">http://library.hud.ac.uk/my/AIM2313</a>

Container 1

Music

AIM2313 - Music On Stage: Opera and Musical Theatre from Orfeo to Matilda - Year 2

Music On Stage: Opera and Musical Theatre from Orfeo to Matilda - Year 2

distinguish between the contributions of the composer, librettist, performer, 
scenographer, conductor, director, and other key collaborators, when evaluating a work/production of musical theatre or opera.


explain a range of different theoretical and critical perspectives on opera and
musical theatre and their implications for particular works


an awareness of contemporary operatic and music-theatre practice as it relates to both the creation of new work and the curation of historical repertoire.

construct an articulate, reasoned, and convincing argument, in spoken and written form, using accurate spelling, grammar, syntax, and punctuation, drawing on a range of source materials, and supported by appropriate examples and evidence.

a secure understanding of opera and musical theatre as collaborative and        multimedial art forms.


broad knowledge of a range of operas and stage musicals from varying periods, genres, and traditions.

an understanding of how the binary oppositions of text vs performance, source vs adaptation, and art vs entertainment have influenced thinking about opera and musical theatre since the seventeenth century.

a broad understanding of the relationship between music and drama in opera and musical theatre from a range of traditions, informed by theoretical and historical perspectives.

describe and explain music’s changing relationship with drama in musical theatre and opera with reference to selected works from a range of traditions, styles, and periods.