Practice of vocal music: Romanticism
| Title | Πράξη της φωνητικής μουσικής: Ρομαντισμός / Practice of vocal music: Romanticism |
| Code | ΜΠ2024 |
| Faculty | Fine Arts |
| School | Music Studies |
| Cycle / Level | 1st / Undergraduate |
| Teaching Period | Winter/Spring |
| Coordinator | Stamatia Gerothanassi |
| Common | No |
| Status | Active |
| Course ID | 600027818 |
Programme of Study: PPS Tmīmatos Mousikṓn Spoudṓn (2017-sīmera)
Registered students: 33
| Orientation | Attendance Type | Semester | Year | ECTS |
|---|---|---|---|---|
| Musicology / Music Education | Elective Courses | 6 | 3 | 5 |
| Music Composition | Elective Courses | 6 | 3 | 5 |
| Academic Year | 2025 – 2026 |
| Class Period | Spring |
| Faculty Instructors |
|
| Weekly Hours | 3 |
| Total Hours | 39 |
| Class ID | 600282078
|
Course Type 2021
Skills Development
Mode of Delivery
- Face to face
Digital Course Content
- e-Study Guide https://qa.auth.gr/en/class/1/600282078
- eLearning:
Erasmus
The course is also offered to exchange programme students.
Language of Instruction
- Greek (Instruction, Examination)
- English (Instruction, Examination)
Learning Outcomes
By the end of the course, the students should be in a position:
• to understand the basic principles of the anatomy and physiology of the vocal and breathing system;
• to understand the basic vocal methods through theoretical and practical application;
• to understand the technical aspects of voice ambitus, volume, strength as well as the parameters that allow the free vocal and body expression, through practical application and performance of vocal and breathing exersices;
• to acquire knowledge on the development of the technique and performance of singing;
• to acquire knowledge of the usages of the vocal organ for the performance of vocal music repertoire;
• to perform pieces of vocal music repertoire of Romanticism;
• to acquire knowledge on the analysis of the vocal pieces they perform.
General Competences
- Apply knowledge in practice
- Adapt to new situations
- Make decisions
- Work autonomously
- Work in teams
- Work in an interdisciplinary team
- Generate new research ideas
- Appreciate diversity and multiculturality
- Respect natural environment
- Demonstrate social, professional and ethical commitment and sensitivity to gender issues
- Be critical and self-critical
- Advance free, creative and causative thinking
Course Content (Syllabus)
The course focuses on the vocal music of Romanticism both at a theoretical and practical level. The focus of the course is on issues of anatomy and physiology of the vocal and breathing system. It contains issues of the basic parameters of vocal education, such as body stance, the function of breathing and the production of sound, the function of voice resonance, among many others.
The course also aims at the definition and the understanding of the parameters of the basic methods of vocal education (Gesangspädagogik). Moreover, it deals with aspects of vocal care. Apart from the theoretical tools provided, at a first stage, the course offers the practical application through the performance of vocal and breathing exercises aiming at the voice ambitus, volume, strength as well as the parameters that allow the free vocal and body expression.
At a second stage, the course offers the possibility of practical application through the performance of vocal music repertoire of Romanticism.
The course is addressed to students of musicology, opera singers, choristers, composers and students interested in vocal music as well as in the understanding of the parameters of the basic methods of vocal education through the performance of repertoire. The course is also addressed to pianists/instrumentalists interested in the accompaniment of singers.
Keywords
vocal education, vocal and breathing exercises, performance, techniques of singing, musical dramaturgy
Educational Material Types
- Slide presentations
- Audio
- Multimedia
- Interactive excersises
- Music scores
Use of Information and Communication Technologies
Use of ICT
- Use of ICT in Course Teaching
- Use of ICT in Communication with Students
Description
Communication through email, elearning, powerpoint, zoom.
Course Organization
| Activities | Workload | ECTS | Individual | Teamwork | Erasmus |
|---|---|---|---|---|---|
| Lectures | 58 | 1.9 | ✓ | ✓ | |
| Reading Assigment | 20 | 0.7 | ✓ | ✓ | ✓ |
| Artistic Workshop | 12 | 0.4 | ✓ | ✓ | ✓ |
| Field trips and participation in conferences / seminars / activities | 5 | 0.2 | ✓ | ✓ | ✓ |
| Project | 30 | 1 | ✓ | ✓ | ✓ |
| Artistic creation | 25 | 0.8 | ✓ | ✓ | ✓ |
| Total | 150 | 5 |
Student Assessment
Description
The evaluation of the students is based on their participation in class, artistic performance and final written assignment.
The course has the form of a lab consisting of up to 12 students (singers and/or accompanists).
Attending weekly meetings (at least 9) means successful completion.
Student Assessment methods
- Written Assignment (Summative)
- Performance / Staging (Formative)
- Artistic Performance (Formative)
Bibliography
Additional bibliography for study
Bent, I. (Ed.). (2005). Music Theory in the Age of Romanticism. Cambridge University Press.
Brown, O. (1996). Discover your voice: how to develop healthy voice habits. San Diego: Singular Pub. Group.
Carman, J. E. (2011). Yoga for Singing: A Developmental Tool for Technique and Performance. Oxford University Press.
Colas, D. (2014). Musical dramaturgy. In H. Greenwald (Ed.), The Oxford Handbook of Opera (pp. 177-205). Oxford: Oxford University Press.
Dahlhaus, C. (1989). What is a Musical Drama? Cambridge Opera Journal, 1 (2), 95‐111 (μετάφραση Whittall, M.).
Dahlhaus, C. (2003). The Dramaturgy of Italian Opera. In L. Bianconi & G. Pestelli (Eds.), Opera in Theory and Practice, Image and Myth (pp. 73-150). Chicago: The University of Chicago Press.
Fuchs, V. (1999). Η τέχνη του τραγουδιού και η τεχνική της φωνής. Αθήνα: Ζαχαρόπουλος (Mετάφραση Κωστίου, Μ.).
Greene, Alan. Πως να μιλάτε και να τραγουδάτε σωστά. Αθήνα: Fagotto, 1991 (Mετάφραση Τραμπίδης, Α.).
Groos, A., & Parker, R. (1988). Reading Opera. New Jersey: Princeton University Press.
Knobel, M. (2005). Singing opera in Germany: a practical guide. Kassel: Barenreiter.
Lawson, C., & Stowell, R. (Eds.). (2012). The Cambridge History of Musical Performance. Cambridge: Cambridge University Press.
Legge, A. (2001). The art of auditioning: a handbook for singers, accompanists and coaches. London: Peters.
Manén, L. (1987). Bel canto: the teaching of the classical Italian song-schools: its decline and restoration. Oxford University Press.
Νίκα-Σαμψών, Ε. (1999). Όπερα. Στο Θέατρο Μουσική Χορός Κινηματογράφος, Ελληνική Εκπαιδευτική Εγκυκλοπαίδεια [Συλλογικός Τόμος]. Αθήνα: Εκδοτική Αθηνών.
Potter, J. (Εd.). (2011). The Cambridge Companion to Singing. Cambridge University Press
Proctor, D. F. (1980). Breathing, speech, and song. Wien, New York: Springer-Verlag.
Samson, J. (Ed.). (2001). The Cambridge History of Nineteenth-Century Music. Cambridge: Cambridge University Press.
Stein, D. & Spillman, R. (2010). Poetry into Song. Performance Analysis of Lieder. Oxford University Press.
Taruskin, I. (2009). Music in the Nineteenth Century: The Oxford History of Western Music. Oxford University Press
Till, N. (Ed.). (2012). The Cambridge Companion to Opera Studies. Cambridge: Cambridge University Press.
Ware, C. (1995). Adventures in singing: a process for exploring, discovering, and developing vocal potential. New York: McGraw-Hill.
Warren, R. (1995). Opera workshop: studies in understanding and interpretation. Aldershot, Hants, England: Brookfield, Vt.: Scolar Press.
Zeiss, L. (2012). The dramaturgy of opera. In N. Till (Ed.), The Cambridge Companion to Opera Studies (pp. 179-201). Cambridge: Cambridge University Press.
Επιπρόσθετη βιβλιογραφία:
• Cambridge Opera Handbooks. Cambridge University Press.
• Εκδόσεις του Μεγάρου Μουσικής Αθηνών.
• Grove Music Online. Oxford Music Online.
• The book of 101 opera librettos: complete original language texts with English translations. New York: Black Dog & Leventhal Publishers, 1996.
Last Update
08-10-2025
