Generally, students are awarded one credit for each hour of class time.
Exceptions are made for studio, ensemble, and a small number of classes.
For complete information as to courses offered in the current year, students
should consult the schedule of course offerings available each semester in the
Registrar’s Office. Courses numbered 100 through 499 are undergraduate
level; courses numbered 500 through 999 are graduate level. Course numbers
preceded by a “»” are typically offered each academic year. Course numbers
followed by a “T” are taught to mixed classes of undergraduates and graduates.
Undergraduate students may register for graduate-level courses with the
instructor’s permission. Courses followed by a “*” are repeatable for credit.
Courses followed by a “**” are repeatable for credit if the topic has changed
(permission from Academic Advisor required).

VOICE

»VC 121 – Phonetics
Teaches the International Phonetic Alphabet (IPA) and explores rules and techniques for pronunciation and projection in singing. Introduces the IPA in American English and compares/contrasts to Italian, French and German. Learning activities include applied oral exercises, class discussion, critical listening to recordings and written and oral examinations. (1 credit) J. Williams

»VC 122 – Italian Diction
Explores the rules and techniques for pronunciation and projection in singing Italian using the International Phonetic Alphabet (IPA). Classroom activities include applied oral exercises and class discussion, lecture, critical listening to recordings, written and recorded homework, quizzes, and a final written and oral exam. Texts: Diction by John Moriarty and Singers’ Italian: A Manual of Diction and Phonetics by Evelina Colorni. Prerequisite: VC 121 (2 credits) Faculty

 

»VC 161 – Voice Class
Instruction for non-majors: This course introduces instrumentalists to a basic physiological understanding of the voice, contextualizes the aesthetic choices made by classical singers (both contemporary and historical), and strengthens and develop each student’s individual voice and ability to comfortably sing in public. Students are assigned to either regular private lessons, or weekly group lessons. All students sing a Jury (either solo or as a group) at the end of the semester. (1 credit) Voice TAs

 

»VC 162 – Voice Class
Continuation of VC 161. (1 credit) Voice TAs

»VC 221 – English Diction
Explores the rules and techniques for pronunciation and projection in singing English using the IPA. Classroom activities include applied oral exercises, class discussion, critical listening to recordings, and written and oral examinations. Text: Singing and Communicating in English by Kathryn LaBouff. Prerequisite: VC 121 (2 Credits) Faculty

 

»VC 222 – German Diction
Explores the rules and techniques for pronunciation, enunciation and expression in singing German using the International Phonetic Alphabet (IPA). Classroom activities include lecture, applied oral exercises and class discussion, critical listening to recordings, written and recorded homework, quizzes, and a final written and oral exam. Prerequisite: VC 121 (2 credits) Faculty

 

»VC 261 – Voice Class
Continuation of VC 162. (1 credit) Voice TAs

»VC 262 – Voice Class
Continuation of VC 261. (1 credit) Voice TAs

 

»VC 321 – French Diction
Rules and techniques of pronunciation, enunciation and projection in French using the International Phonetic Alphabet. Class discussion, applied oral exercises, performances, critical listening to recordings, written and oral examinations. Prerequisite: VC 121 (2 credits) Blaich

»VC 331 – German Vocal Repertoire
This course introduces and explores the performance of German Lied. Provides a general survey of the repertoire and focuses on performance, style, ensemble, diction and communication. (2 credits) Faculty

»VC 332 – English/American Vocal Repertoire
This course is a one-semester undergraduate survey of English and American song for all voice types. It is designed to acquaint singers with the most important English language vocal works, and to provide experience in coaching and performing this repertoire. The material covered is intended to enhance performance skills and to provide a cultural and historical context for the music. (2 credits) Faculty

 

VC 425T – Solfege Through Vocal Music
This course helps students to advance solfege skills through the study of vocal music performed both a cappella and with instrumental ensembles. It is taught through the theory department and is designed to review, reinforce and expand sight singing and ear training skills. Prerequisite: THYU 202. (0 credit) Scripp

 

»VC 431 – French Vocal Repertoire
Through the study of selected French songs in a masterclass setting, students develop skills in analysis and interpretation and gain an understanding of the development of the Mélodie genre in the nineteenth and twentieth centuries. Student presentations, classroom discussions, and exercises in critical listening will address issues of text setting, lyric diction, performance practice, musical and dramatic interpretation, and important trends in musical and literary aesthetics. (2 credits) Faculty

»VC 432 – Italian/Spanish Vocal Repertoire
This course is a one-semester undergraduate survey of Italian and Spanish song for all voice types. It is designed to acquaint singers with the most important Italian and Spanish language vocal works, and to provide experience in coaching and performing this repertoire. The material covered is intended to enhance performance skills and to provide a cultural and historical context for the music. (2 credits) Faculty

 

»VC 481/482 – Vocal Coaching
Interpretation and presentation. Studio instruction with an accompanist, particularly in preparation for a public performance or recital. Recommended for the final year; priority given to graduating students. (2 credits) Faculty

»VC 521 – Voice Class
Instruction for non-majors: This course introduces instrumentalists to a basic physiological understanding of the voice, contextualizes the aesthetic choices made by classical singers (both contemporary and historical), and strengthens and develop each student’s individual voice and ability to comfortably sing in public. Students are assigned to either regular private lessons, or weekly group lessons. All students sing a Jury (either solo or as a group) at the end of the semester. (1 credit) Voice TAs

»VC 522 – Voice Class
Continuation of VC 521. (1 credit) Voice TAs

 

VC 525T – Solfege Through Vocal Music
This course helps students to advance solfege skills through the study of vocal music performed both a cappella and with instrumental ensembles. It is taught through the theory department and is designed to review, reinforce and expand sight singing and ear training skills. In addition, it provides support for graduate students who did not pass the sight singing or melodic ear training components of the Masters of Music Theory Competency Exam. (0 credit) Scripp

 

VC 563 – Lyric Diction for Singers I
A thorough grounding in phonetic rules, utilizing the International Phonetic Alphabet, as well as in-class performance and coaching. Languages covered over the course of the year – Italian, German and French. Required Textbook: Diction by John Moriarty. Supplemental readings from ‘Singers’ Italian: A Manual of Diction and Phonetics’ by Evelina Colorni, ‘German for Singers: A Textbook of Diction and Phonetics’ by William Odom, ‘Singing in French: A Manual of French Diction and French Vocal Repertoire’ by ThomasGrubb, and ‘The Interpretation of French Song’ by Pierre Bernac. (2 credits) Anderson-Collier

VC 563G – German Lyric Diction for Singers
Practical study of German pronunciation for singing. A thorough grounding in phonetic rules, utilizing the International Phonetic Alphabet, as well as class performance and coaching of German operatic and Lied repertoire by each student. Required textbook is Diction, by John Moriarty. Supplemental text (purchase not required) is William Odom’s German for Singers: A Textbook of Diction and Phonetics. (1 credit) Anderson-Collier

VC 563I – Italian Lyric Diction for Singers
Practical study of Italian pronunciation for singing. A thorough grounding in phonetic rules, utilizing the International Phonetic Alphabet, as well as class performance and coaching of Italian operatic and song repertoire by each student. Required textbook is Diction, by John Moriarty. Supplemental texts (purchase not required) include Singers’ Italian: A Manual of Diction and Phonetics, by Evelina Colorni. (1 credit) Anderson-Collier

 

VC 564 – Lyric Diction for Singers II
Continuation of VC 563. Pre-requisite: VC 563

VC 564F – French Lyric Diction 
Practical study of French pronunciation for singing. A thorough grounding in phonetic rules, utilizing the International Phonetic Alphabet, as well as class performance and coaching of French operatic and song repertoire by each student. Required textbook is Diction, by John Moriarty. Supplemental texts (not required for purchase) are Thomas Grubb’s ‘Singing in French: A Manual of French Diction and French Vocal Repertoire’, and Pierre Bernac’s ‘The Interpretation of French Song.’ (2 credits) Anderson-Collier

»VC 565 – Introduction to Vocal Pedagogy: Process, Structure, and Function
An introduction to vocal pedagogy, this course explores optimal singing technique in the context of a singer’s organizing principle: the series of clear thoughts that gives rise to a coordinated singing body. Practical anatomy and acoustics, historical treatises, and the paradoxes that inform technical choices in classical and musical theater styles are also covered. Regular listening exercises, readings, in-class demonstrations and presentations, and discussions are supplemented by exposure to computer based singing analysis and synthesis systems. (2 credits) Howell

»VC 566 – Advanced Vocal Pedagogy: Teaching Singing
Building upon the knowledge gained in Vocal Pedagogy, Advanced Vocal Pedagogy is geared toward students specifically interested in learning how to teach voice. This course offers a practical approach to evaluating voices, diagnosing technical flaws, and offering targeted solutions. Also covered are studio ethics, repertory selection, historical pedagogy, and suggestions for building and maintaining a studio. Heavily practicum based, students will teach several voice lessons to non-majors, observe NEC faculty members teach, and work with computer based voice analysis and synthesis software. Students will read several peer-reviewed articles from voice science and voice pedagogy journals, give a presentation demonstrating original thought in the field of vocal pedagogy, and write a final essay exploring their philosophical and practical approaches to teaching voice. Continuation of VC 565. Prerequisite: VC 565. (2 credits) Howell

 

VC 567 – Voice Science: Advanced Perception and Analysis
This course introduces students to the physical, acoustical, and perceptual principles that form the basis of our current scientific understanding of voice production and sound perception. Topics covered include basic anatomy, fluid dynamics, vocal fold oscillation, sound propagation, formants and the non-linear source/filter model, and the paradoxical psychoacoustics of singing voice perception. Students will explore this material through readings, research projects and presentations, and experimentation in the NEC Voice and Sound Analysis Laboratory. Primary texts include Principles of Voice Production by Ingo Titze, Resonance in Singing by Donald Miller, and Practical Vocal Acoustics by Kenneth Bozeman. (2 credits) Howell

 

VC 568 – Writing About Singing
This seminar exposes students to a variety of primary sources and research methods used in the voice science and vocal pedagogy literature. Topics covered include surveys, perceptual studies, acoustical and electroglottographic data analysis, basic statistical analysis, and use of Microsoft Excel to visually summarize complex information. Students will repeat and extend several published studies, present their own work for discussion and feedback, and develop a more concise and incisive voice as a writer. Students will propose and complete a significant research project culminating in a final thesis and public lecture. Texts include a variety of articles from The Journal of Voice and The Journal of Singing. (2 credits) Howell

»VC 573 – Vocal Techniques and Repertoire, English and American
This course is designed to explore through a range of topics the performance and study of English and American songs from the lutenists to the present day. Recent topics have included The Art Song in America and The English Musical Renaissance: Elgar to Britten. Style, ensemble, diction and communication are emphasized. (2 credits**) Faculty

»VC 575 – Vocal Techniques and Repertoire, French
This course is designed to explore through a range of topics the performance and study of mélodie. Recent topics have included Verlaine Settings in French mélodie. Style, ensemble, diction and communication are emphasized. (2 credits**) Faculty

»VC 576 – Vocal Techniques and Repertoire, French
This course is designed to explore through a range of topics the performance and study of mélodie. Recent topics have included Verlaine Settings in French mélodie. Style, ensemble, diction and communication are emphasized. (2 credits**) Faculty

 

»VC 577 – Vocal Techniques and Repertoire, German
This course is designed to explore through a range of topics the performance and study of lieder. Recent topics have included Goethe Settings in German Lieder and The Songs of Robert and Clara Schumann and Johannes Brahms. Style, ensemble, diction and communication are emphasized. (2 credits**) Faculty

 

»VC 578 – Vocal Techniques and Repertoire, German
This course is designed to explore through a range of topics the performance and study of lieder. Recent topics have included Goethe Settings in German Lieder and The Songs of Robert and Clara Schumann and Johannes Brahms. Style, ensemble, diction and communication are emphasized. (2 credits**) Faculty

 

»VC 579 – Song Studies for Pianists and Singers
A performance-based class focusing on selections from the standard song repertoire and issues of performance specifically related to piano-vocal collaboration. Pianists and singers, paired in different combinations over the course of the semester, will collaborate in preparation for in-class performances and presentations. Classroom discussions and presentations will address various topics related to the study and performance of song, including relevant literary movements and musical trends, poetic and musical style, performance practice, musical drama, ensemble rehearsal, and artistic collaboration. Instructor’s permission required. (2 credits) Stowe

 

VC 581 – Oratorio Solo Vocal Repertoire I: Monteverdi – Haydn
This course introduces voice students to the unique rhetoric, style, and performance practice of baroque through early classical solo voice oratorio and concert repertoire. Heavily performance based, topics covered include: commonly programmed works, stylistically appropriate ornamentation and vocal tone models, basic figured bass and linear analysis revelatory of expressive musical structures, recitative, and existing recordings and popular scholarship. Students will be exposed to a breadth of repertoire, and will coach a selection of pieces for a final concert. Enrollment is by instructor approval. (2 credits) Howell

 

VC 582 – Oratorio Solo Vocal Repertoire II: Beethoven – present
This course introduces voice students to the oratorio and concert repertoire of the classical through modern periods. Heavily performance based, topics covered include: commonly programmed works, stylistically appropriate ornamentation (if applicable) and vocal tone models, basic linear analysis revelatory of expressive musical structures, recitative, and existing recordings and popular scholarship. Students will be exposed to a breadth of repertoire, and will coach a selection of pieces for a final concert. Enrollment is by instructor approval. (2 credits) Howell

 

»VC 617/618 – Vocal Coaching
Interpretation and presentation. Studio instruction with an accompanist, particularly in preparation for a public performance or recital. Recommended for the final year; priority given to second-year students. (2 credits) Anderson-Collier, Blaich, Francoeur-Krzyzek

»CLPNO 521 – Song Studies for Pianists and Singers
A performance-based class focusing on selections from the standard song repertoire and issues of performance specifically related to piano-vocal collaboration. Pianists and singers, paired in different combinations over the course of the semester, will collaborate in preparation for in-class performances and presentations. Classroom discussions and presentations will address various topics related to the study and performance of song, including relevant literary movements and musical trends, poetic and musical style, performance practice, musical drama, ensemble rehearsal, and artistic collaboration. Instructor’s permission required for vocalists. (1 credit for collaborative piano majors; 2 credits for non-majors) Stowe

OPERA

»OPERA 420 – Undergraduate Opera Studio
The Undergraduate Opera Studio (UGOS) offers an introduction to performance skills in opera and lyric theatre and the discipline of being a professional singer. UGOS is an annually auditioned ensemble, which is open to undergraduate voice students who have passed their first year promotional. There is a co-requisite of two years of acting and audition techniques and two years of movement class for students in UGOS. Students who are admitted to the performance ensemble of UGOS will have musical coachings and stagings culminating in a scenes program in the first semester and a complete one-act or full opera in the second semester. Prerequisite: VC 195 and instructor’s permission. (0 or 1 credit*) Meraw

OPERA 431 – UGOS Aria Class
In this class, students will prepare arias for musical and dramatic coaching, an essential skill for aspiring opera singers. After learning the musical and vocal demands of core arias for their voice types, students will receive dramatic coaching from various opera department faculty members to help the students to prepare arias that will be applicable to both the audition room and a stage performance. Students will be evaluated based upon preparedness for musical and dramatic coachings, and their ability to assimilate new musical and dramatic ideas into their performance. (0 credit*) Goldstein, Major

»OPERA 440 – UGOS Acting and Audition Techniques
Co-requisite of OPERA 420. (0 credit*) Faculty

OPERA 451 – UGOS Movement
(0 credit*) Faculty

OPERA 452 – UGOS Movement II
(0 credit*) Faculty

»OPERA 520 – Graduate Opera Studies
See description under Ensembles. Scene study and participation in productions as cast and other level specific instruction and masterclasses. Co-requisites: OPERA 510 (ensemble) for all students, OPERA 563-564 (two semesters) for first year students, OPERA 581-582 (two semesters) for second year students, and the appropriate workshop, acting and movement level. (2 credits*) Faculty

»OPERA 521 – Opera Workshop
A class designed to provide an in-depth study of the fundamentals of opera performance, including dramatic interpretation, recitative, stylistic interpretation, etc., leading to scenes and aria performances. Normally for first year graduate students, these studies are enhanced with individual coaching and acting classes. (0 credit) Faculty

»OPERA 522 – Opera Workshop
Continuation of OPERA 521. Prerequisite: OPERA 521. (0 credit) Faculty

 

»OPERA 523 – Advanced Opera Workshop
Building on the areas studied in Opera Workshop, this class provides more detailed study in aria interpretation and performance, repertoire, audition preparation, presentation, and performance, etc. in a broad array of styles. Normally for second year graduate students, these studies are enhanced with individual coaching and acting classes. Prerequisite OPERA 522 or instructor’s permission. (0 credit) Faculty

»OPERA 524 – Advanced Opera Workshop
Continuation of OPERA 523. Prerequisite: OPERA 523. (0 credit) Faculty

»OPERA 541 – Acting Techniques for the Singer I
Study of acting and singing-acting techniques including: fundamentals of acting, acting with the whole body, improvisation in speaking and singing and monologue and aria dramatic analysis and performance. (0 credit) Faculty

 

»OPERA 542 – Acting Techniques for the Singer I
Continuation of OPERA 541. Prerequisite: OPERA 541 (0 credit) Faculty

 

»OPERA 543 – Acting Techniques for Singers II
Study of acting and singing-acting techniques including scene study, advanced improvisation and character analysis. (0 Credit) Faculty

»OPERA 551 – Movement I
Introduction to movement through body fundamentals and improvisation. Emphasis on developing physical self awareness and stage presence. Introduction to dance styles from the Renaissance through the present day. In-class presentations of improvisations and combinations. (0 credit) Sullivan

 

»OPERA 552 – Movement I
Continuation of OPERA 551. Prerequisites: OPERA 551. (0 credit)

 

»OPERA 553 – Movement II – Stage Combat
This class is a study in performing safe and effective stage combat techniques. This applied course focuses on the actor’s physical, vocal, and emotional approach to performing violent action on stage. Both armed and unarmed combat will be explored. A practical guide to storytelling through extreme physical action. (0 credit) Sullivan

 

»OPERA 554 – Movement II
Continuation of Movement 1 body fundamentals into ballet technique. Ballet center warm-up emphasizes safe technique, line, and balance. Exploration of choreography by Balanchine, Graham, Robbins, and Ailey. In-class showings three times per semester. Prerequisite: OPERA 553. (0 credit)

»OPERA 555 – Movement III
Exploration of various dance styles through ballet, opera and musical theater choreography. Preparation and in-class performance of two pieces per semester. (0 credit) Sullivan

 

»OPERA 556 – Movement III
Continuation of OPERA 555. Prerequisite: OPERA 555. (0 credit)

 

»OPERA 581 – Graduate Opera Seminar
Intended for second year graduate students, this multi-faceted course examines a broad range of topics related to opera studies in preparation for a professional career in opera. Issues include aria work in master class format, audition preparation, career advising, and performance enhancement techniques. (1 credit) Eaglen

 

»OPERA 691 – Opera Role in Full Production
Required for Artist Diploma in Opera. (0 credit)

 

2016-08-17


IF YOU HAVE TO ASK WHAT JAZZ IS, YOU'LL NEVER KNOW. LOUIS ARMSTRONG