Music
Bachelor	TR-NQF-HE: Level 6	QF-EHEA: First Cycle	EQF-LLL: Level 6

General course introduction information

Course Code:

MZS374

Course Name:

Mimic and Movement II

Course Semester:

Spring

Course Credits:

Theoretical	Practical	Credit	ECTS
2	0	2	3

Language of instruction:

Course Requisites:

Does the Course Require Work Experience?:

Yes

Type of course:

Department Elective

Course Level:

Bachelor

TR-NQF-HE:6. Master`s Degree

QF-EHEA:First Cycle

EQF-LLL:6. Master`s Degree

Mode of Delivery:

Face to face

Course Coordinator :

Assoc. Prof. SETA KÜRKÇÜOĞLU

Course Lecturer(s):

Assoc. Prof. SETA KÜRKÇÜOĞLU

Course Assistants:

Course Objective and Content

Course Objectives:	It is the performance of vocal works in which the student will perform with acting according to the branch (opera / musical) in which the student will progress in the field of voice education, with the acquisition of knowledge about acting, the development of the use of mimics, the increase of awareness of the body, the use of correct posture, voice and breath.
Course Content:	It is the performance of vocal works in which the student will perform with acting according to the branch (opera / musical) in which the student will progress in the field of voice education, with the acquisition of knowledge about acting, the development of the use of mimics, the increase of awareness of the body, the use of correct posture, voice and breath.

Learning Outcomes

The students who have succeeded in this course;

Learning Outcomes

1 - Knowledge
Theoretical - Conceptual
1) Obtaining theoretical knowledge through source books
2 - Skills
Cognitive - Practical
1) Developing awareness between voice, breath and body
3 - Competences
Communication and Social Competence
Learning Competence
1) Performance of vocal works with acting in accordance with the role
Field Specific Competence
1) Analysis of the characters
Competence to Work Independently and Take Responsibility
1) Developing the expression through studies

Lesson Plan

Week	Subject	Related Preparation
1)	• Recall the resources discussed with students in the fall semester. • Practice on postures aimed at providing body awareness. • Relaxation and innervation (stimulation) exercises for diaphragm work. • Stretching and body warming movements. • Voice exercises based on the use of vocals and consonants to perform natural phonation (voicing) • Articulation (Lip, tongue and jaw area) exercises for good pronunciation of works.	NO
2)	• Practice on postures aimed at providing body awareness. • Relaxation and innervation (stimulation) exercises for diaphragm work. • Stretching and body warming movements. • Voice exercises based on the use of vocals and consonants to perform natural phonation (voicing) • Articulation (operating the lips, tongue and jaw area) exercises for good pronunciation of the works • Review of Kristin Linklater's book "Freeing The Natural Voice". • Studying the vocal work with piano accompaniment.	NO
3)	• Practice on postures aimed at providing body awareness. • Relaxation and innervation (stimulation) exercises for diaphragm work. • Stretching and body warming movements. • Voice exercises based on the use of vocals and consonants to perform natural phonation (voicing) • Articulation (operating the lips, tongue and jaw area) exercises for good pronunciation of the works • Review of Kristin Linklater's book "Freeing The Natural Voice". • Studying the vocal work with piano accompaniment.	NO
4)	• Practice on postures aimed at providing body awareness. • Relaxation and innervation (stimulation) exercises for diaphragm work. • Stretching and body warming movements. • Voice exercises based on the use of vocals and consonants to perform natural phonation (voicing) • Articulation (operating the lips, tongue and jaw area) exercises for good pronunciation of the works • Review of Kristin Linklater's book "Freeing The Natural Voice". • Watching Kristin Linklater's videos. • Studying the vocal work with piano accompaniment.	NO
5)	• Practice on postures aimed at providing body awareness. • Relaxation and innervation (stimulation) exercises for diaphragm work. • Stretching and body warming movements. • Voice exercises based on the use of vocals and consonants to perform natural phonation (voicing) • Articulation (operating the lips, tongue and jaw area) exercises for good pronunciation of the works • Review of Kristin Linklater's book "Freeing The Natural Voice". • Watching Kristin Linklater's videos. • Studying the vocal work with piano accompaniment.	NO
6)	• Practice on postures aimed at providing body awareness. • Relaxation and innervation (stimulation) exercises for diaphragm work. • Stretching and body warming movements. • Voice exercises based on the use of vocals and consonants to perform natural phonation (voicing) • Articulation (operating the lips, tongue and jaw area) exercises for good pronunciation of the works • Evaluation of Konstantin Stanislavski's book "Actor's Handbook". • Watching mimic and close-up acting videos. • Studying the vocal work with piano accompaniment.	NO
7)	• Practice on postures aimed at providing body awareness. • Relaxation and innervation (stimulation) exercises for diaphragm work. • Stretching and body warming movements. • Voice exercises based on the use of vocals and consonants to perform natural phonation (voicing) • Articulation (operating the lips, tongue and jaw area) exercises for good pronunciation of the works • Evaluation of Konstantin Stanislavski's book "Actor's Handbook". • Watching mimic and close-up acting videos. • Studying the vocal work with piano accompaniment.	NO
8)	• MIDTERM EXAM • Written assignment on reference books. • Performance of the vocal piece with piano accompaniment.	NO
9)	• Practice on postures aimed at providing body awareness. • Relaxation and innervation (stimulation) exercises for diaphragm work. • Stretching and body warming movements. • Voice exercises based on the use of vocals and consonants to perform natural phonation (voicing) • Articulation (operating the lips, tongue and jaw area) exercises for good pronunciation of the works • Evaluation of Konstantin Stanislavski's book "Creating a Character". • Watching mimic and close-up acting videos. • Studying the vocal work with piano accompaniment.	NO
10)	• Practice on postures aimed at providing body awareness. • Relaxation and innervation (stimulation) exercises for diaphragm work. • Stretching and body warming movements. • Voice exercises based on the use of vocals and consonants to perform natural phonation (voicing) • Articulation (operating the lips, tongue and jaw area) exercises for good pronunciation of the works • Evaluation of Konstantin Stanislavski's book "Creating a Character". • Watching mimic and close-up acting videos. • Studying the vocal work with piano accompaniment.	NO
11)	• Practice on postures aimed at providing body awareness. • Relaxation and innervation (stimulation) exercises for diaphragm work. • Stretching and body warming movements. • Voice exercises based on the use of vocals and consonants to perform natural phonation (voicing) • Articulation (operating the lips, tongue and jaw area) exercises for good pronunciation of the works • Evaluation of Konstantin Stanislavski's book "Creating a Character". • Watching mimic and close-up acting videos. • Studying the vocal work with piano accompaniment.	NO
12)	Relaxation and innervation (stimulation) exercises for diaphragm work. • Stretching and body warming movements. • Voice exercises based on the use of vocals and consonants to perform natural phonation (voicing) • Articulation (operating the lips, tongue and jaw area) exercises for good pronunciation of the works • Evaluation of Konstantin Stanislavski's book "Creating a Character". • Watching mimic and duo close-up acting videos. • Piano accompaniment of vocal work and duet.	NO
13)	• Relaxation and innervation (stimulation) exercises for diaphragm work. • Stretching and body warming movements. • Voice exercises based on the use of vocals and consonants to perform natural phonation (voicing) • Articulation (operating the lips, tongue and jaw area) exercises for good pronunciation of the works • Evaluation of Konstantin Stanislavski's book "Creating a Character". • Watching mimic and duo close-up acting videos. • Piano accompaniment of vocal work and duet.	NO
14)	• Relaxation and innervation (stimulation) exercises for diaphragm work. • Stretching and body warming movements. • Voice exercises based on the use of vocals and consonants to perform natural phonation (voicing) • Articulation (operating the lips, tongue and jaw area) exercises for good pronunciation of the works • Evaluation of Konstantin Stanislavski's book "Creating a Character". • Watching mimic and duo close-up acting videos. • Piano accompaniment of vocal work and duet.	NO
15)	• FINAL EXAM • Written assignment on reference books. • Performance of vocal work and duet with piano accompaniment.	NO
16)	• FINAL EXAM • Written assignment on reference books. • Performance of vocal work and duet with piano accompaniment.	NO

Sources

Course Notes / Textbooks:

Ders sırasında alınan notlar

References:

1- Don Hanlon Johnson; "Bone, Breath, and Gesture: Practices of Embodiment", 1995.
2- Konstantin Stanislavski; "Bir Aktör Hazırlanıyor - An Actor Prepares", 1936.
3- Konstantin Stanislavski; "Bir Karakter Yaratmak - Building a Character", 1938.
4- Konstantin Stanislavski; "Oyuncunun El Kitabı - An Actor's Handbook", 1936.
5- Psikolog Dr. Acar Baltaş , Zuhal Baltaş; "Beden Dili - Body Language", 2015.
6- Kristin Linklater; "Freeing The Natural Voice", 1976.
7- Şadan Güvenir; "Ses, Yapısal ve İçsel Bilincin Oluşturulması", 2004.

Course-Program Learning Outcome Relationship

Learning Outcomes	1	2	3	4	5
Program Outcomes
1) To make students more effective and capable in their future professions as artists
2) To increase students’ intuition and discover their creative power throughout their academic careers
3) By enhancing creative potential, to widen the horizons of habitual thought and form open-minded and captivating artists
4) To support students along their artistic journey and prepare them for fruitful, fulfilling careers
5) By combining the reason of science and the sense of art, to create citizens ready to meet the substantial and spiritual needs of society
6) To build aesthetic awareness
7) To increase awareness of local and international values surrounding music
8) To create a space where abstract and concrete concepts can be converted into creative power, as well as original and innovative artistic work
9) To build a sensibility for success in their professional lives
10) To become well-rounded individuals enriched with an interdisciplinary and diverse education

Course - Learning Outcome Relationship

No Effect	1 Lowest	2 Low	3 Average	4 High	5 Highest

	Program Outcomes	Level of Contribution
1)	To make students more effective and capable in their future professions as artists	5
2)	To increase students’ intuition and discover their creative power throughout their academic careers
3)	By enhancing creative potential, to widen the horizons of habitual thought and form open-minded and captivating artists
4)	To support students along their artistic journey and prepare them for fruitful, fulfilling careers
5)	By combining the reason of science and the sense of art, to create citizens ready to meet the substantial and spiritual needs of society
6)	To build aesthetic awareness
7)	To increase awareness of local and international values surrounding music
8)	To create a space where abstract and concrete concepts can be converted into creative power, as well as original and innovative artistic work
9)	To build a sensibility for success in their professional lives
10)	To become well-rounded individuals enriched with an interdisciplinary and diverse education

Learning Activity and Teaching Methods

Expression
Individual study and homework
Lesson
Homework
Application (Modelling, Design, Model, Simulation, Experiment etc.)
Web Based Learning

Assessment & Grading Methods and Criteria

Oral Examination
Homework
Application
Individual Project
Bilgisayar Destekli Sunum

Assessment & Grading

Semester Requirements	Number of Activities	Level of Contribution
Midterms	1	% 40
Final	1	% 60
total		% 100
PERCENTAGE OF SEMESTER WORK		% 40
PERCENTAGE OF FINAL WORK		% 60
total		% 100

Workload and ECTS Credit Grading

Activities	Number of Activities	Duration (Hours)	Workload
Course Hours	14	1	14
Midterms	1	1	1
Final	1	1	1
Total Workload			16