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Clöck (Drama in Music) - Kai-Xin, Raimi, Rafika - 9 Feb 2018 - Addition

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Clöck (Drama in Music) - Kai-Xin, Raimi, Rafika - 9 Feb 2018 - Addition

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2. As a team, it is crucial that all of our team members prepare (or rehearse, in the case of preparing a musical performance), participate/practice, communication/present, promotively interact, and collaborate well with each other. This is depicted in the setting of ensemble finales - the good works/singings all the soloists in the opera have performed come together and accumulate into a wonderful climax/ending. In a team, if all of the members do the assigned tasks accordingly, the output/result should be good.

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A) How do you relate drama in music with own practical performance? Give examples.

In Drama, actors and actresses convey out emotions through expressions, actions and the tone of their speech. That said, in every act, there is always a storyline. And the actor and actresses must first understand the storyline in order for the audience to be able to feel what they will be doing.
Likewise for music performance, where we have to understand how and why the chords are there, and what the composer is trying to convey. We have to understand it first then we will be able to play how the composer wants it, and perhaps if able to, imagine a scenery. One example is, Beethoven Symphony no. 9, Ode to Joy. Where it is about Humans being together, bound by no racial issues, or any boundaries.

B) How do the Ensemble Finales in Classical operas enhance our understanding about team dynamics?

Communication between ensemble players, or in this case a response from each team member is necessary when building a team dynamic. Like how ensemble players will communicate w/ a soloist via a conductor. Mutual understanding needs to be established.

C)  Reflecting on our 4 weeks of team-working: what have we done well, and what can we do better?

Each team member contributed to each problem and obstacle encountered. Co-operation is established also.
We can do much better if we spend more time as a group.

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Breyann Randy Jinglun Chun Yang 09/02/18

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Breyann Randy Jinglun Chun Yang 09/02/18

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a) How do you relate drama in music with our own practical performance? Give examples.
Drama in music in our opinion is about having a visual element like words and performances to bring out emotion and character in the performance. It helps to give another element or effect that is beyond just musical notes and performance directions. It gives people new ways of experiencing the music

b) How do the ensemble finales in Classical operas enhance our understanding about team dynamics?
Ensemble finale brings together different to create one whole which helps us realise that despite our differences of knowledge of experience, we can strive to a common goal by complementing each others skill sets.

c) Reflecting on our past 4 weeks of team-working: what have we done well, and what can we do better?
Our team members were involved with school performances and missed a few sessions. We need to work more to catch up and do better.

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a) How do you relate drama in music with our own practical performance? Give examples.

Drama in music expresses out emotions by using words and actions, while in our own practical performance, even though we do not express our emotions through words, we expresses them in actions too. For example, by swaying to the music we play and also conveying different kinds of tone by the speed and the weight we put onto our bow. Similarly with pieces that we play on our instruements, they also do contain storylines, just like drama in music.

Drama in music also uses the same kind of notations in tempo markings and also dynamics. When the storylines becomes more agitated or happy they usually goes faster and louder, if it becomes sad, it will also goes slower and softer. Same goes to our practical performance, we are also able to sense the mood of the piece by the given markings indicated on the scores.

Drama in music can be related to more than just our practical performance. To begin with, drama is often combined with music and dance that includes both spoken dialogue and songs. It is through the drama and music that we communicate and express out what we feel in us. This can be assisted with the performance guidances and directions stated in the score. For example, in passages where it is light and exciting, this could suggest that the singer/performer is trying to convey the idea of happiness and contentment. Quite similarly to that in our practical performance, this can be expressed by articulating the notes in the passage with staccato or even staccatissimo. In this way, we can easily deliver what we feel to the audience with the way in which the notes are being played or sung.

b. Any emsemble finale is a large block of music that concludes an act and is made up of continuous smaller numbers differentiated by key, tempo, meter. With such a concentrated flow of ideas to end of an opera, it is vital for musicians to be able to have a common understanding of the musical context of the sections of music they are playing. This pertains to knowing what other instruments are playing, wat material they have and the set impulse agreed upon at the main melodic materials and the cadential points where more often than not, slight tempo changes. As an emsemble, the need to gel becomes of utmost importance to achieve a level of close perfection. Members have to understand the function of the finale and come to a concensus together to piece it together with awareness.

Playing in an ensemble requires a high level of teamwork and also a good understanding of each other’s part. It is important for players of the ensemble to respond to each other flexibly. With the ability to communicate skilfully, it shows the team’s working dynamics and how we would work together as an ensemble to be able to present/perform the piece well.

c. Done well: communication, agreement with final answers, acceptance of new discussions and ideas.

Needs improvement: stop overthinking, delegation of work in sections, less brooding on more difficult things.

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Janelle Jun Yu Jasper Danielle -- 9 feb 2018

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Janelle Jun Yu Jasper Danielle -- 9 feb 2018

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a) How do you relate drama in music with our own practical performance? Give examples.
Janelle and Danielle:
Drama in music, like the opera, expresses emotions through body language, the lyrics, the tune, and facial expressions. Although we as instrumental musicians are not able to use words and actions to communicate to our audience, we should develop a wide range of techniques and knowledge to allow a wider range of expression. Body language and movement is also important as it is not interesting to watch a stagnant musician on stage. Furthermore, there is always a storyline and background to a character that an opera singer plays that helps he or she communicate the intentions of the character effectively. Likewise, we should research on our pieces and find out, or think of, a storyline that we want to convey to our audience.
Jun Yu:

In addition to the above points, one can observe this especially in new music or 20th century music. Composers explore various ways to break the wall between the audience and the musician. Instead of making a performance just about music, there are so many other visual aspects in current musical performance. Take for example if one was performing John Cage's 4'33. Dare I say that there is almost zero musical context in that work, however the tension in the silence and surrounding sounds indirectly directs the attentive audience to focus solely on the performer's next move. This has essentially the same effect as drama. As it captivates the audience both visually and aurally. Another example is if we perform prokofiev's 'Peter and the Wolf'. Though it is has no actors or actresses involved, often, musicians would wear masks or costumes to enhance the performance visually. So that the audience will be able to relate characters to it's instruments.

b) How do the ensemble finales in Classical operas enhance our understanding about team dynamics?
Danielle:
The finale is usually the ensembles playing together at the end of a piece. This utillizes team dynamics by making the players listen to each other and responding instantly during a performance. By knowing the tendencies of the other instruments and individual players/groups, ensemble finales test groups on their ensemble-ship skills as a musician. (listening, responding etc.)
Janelle: Therefore, as a team, we should learn to work with others, and with their unique and individual personalities and strengths. Good teamwork requires a level on understanding and flexibility, as well as ownership of one's work. If we know each other's tendencies and strengths, we can use it to our advantage and help each other out effectively. There cannot be discord in a ensemble finale, lest it falls apart. The same for team dynamics.
Jun Yu: It is the nature of the team's work. It shows the individual personality within the team while also showing how much chemistry and understand this group of musicians have together. When the group moves musically as a team, the effect will be significantly enhanced. Because all the breathing points and climaxes and pivots will be done as one.

c) Reflecting on our past 4 weeks of team-working: what have we done well, and what can we do better?
Danielle : We have managed to delegate work despite not having a full team most tutorials, and together we have discussions to consolidate our work, and for team quizzes. We all can make more effort to show up to class on time and work harder together!
Jun Yu: I'm not sure what we have done well, but what I believe is that there should be more independent and self disciplined action taken during group works. We should all be more proactive individually so that group discussions can be done in a more efficient and effective way.
Jasper: I think we did well in working together effectively for the group quizzes. I think we didn't do well enough in doing our research thoroughly before hand.
Janelle:
PREP:
We have not had any face to face team meetings so far due to the clash of schedules. We have a few members of the team taking notes. I personally think the preparation before each team test should be done earlier and we should get to know our material better in order not to be lost during the tests.
PARTICIPATION:
The people in this group all contribute and we are all willing to listen to each other's ideas, which I think is a good thing.
COMMUNICATION: We have no problem with this either as our whatsapp group serves a convenient way to get a point or reminder across effectively.
PROMOTIVE INTERACTION: As a team, I believe we all want to do well for this class. We can improve by actually turning up as a team (hopefully in the near future) for the lecture and tutorial so that we all have the information before we take the test.
CO-OPERATION: It usually takes a bit of nudging for the others to do their part of the delegated work, but it usually gets done (which is good). I have been the one delegating the work and reminding people to hand up their part on time (which, still has not worked very well since we were late for that assignment). But I'm sure we will improve with time.

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Eunice answer
a) For me, drama in music is a play associated with emotion-filled acting and singing, and alot of thought and preparation is put into every single action and emotion to bring out the best possible way to tell a story. This relates to my own practical performance, because every song has a story behind it, and it is up to me to allow the audience to be able to feel and understand the background story solely through musical notations and dynamics, and not forgetting the importance of word painting using the words in the text

c) Reflecting on the past 4 weeks, we have done well in areas such as being able to contribute as a team, being open to each other's opinion and having good discussion, but I think what we can improve on would be the communication within the group and the discipline to complete each given task

Qin Yi's answer:
b) It makes us had the better understanding on our team dynamics. The mozart’s ensemble finales at the ends of each act allow the characters to combine and clash, bringing the action to a climax without any pauses to disrupt the musico-dramatic flow. Thus harmony in a team is very important and must be effectively communicated through initiatives. In the team, we are working together and no just work personally, and we learn how to combine our abilities and try to create the best solutions.

c) We can go back to the music and listen them each carefully. And also read more comments and thesis  and have a deeper understanding about the pieces. We also need to share our thinking with our partners so that each of us  will have a better understanding.

Yi Yue's answer

b)Opera is drama, ensemble can let the plot unfold more quickly. Instead of waiting for each character to sing one after one, three or more characters express their particular feeling at the same time. When the composer put the ensemble at the final, it helps to form an exciting ending. In the team, we do different work, but when we put the work together, it will be successful. It will help each other. Ensemble finale must have been rehearsed excessively. This can translate to us putting maximum effort in preparation for team assignments.

c) I think in the last few weeks, I think we can keep trying and help each other.

Wu Fei
b) Ensemble finales in Classical operas usually been used in the end of the opera, it makes it more colorful and passionate. Lines of each character Intertwined and let us know more information. So as team dynamics, it can enhanced Interactivity and make the team more unity. Despite the finale being a teamed effort, each performer must still do their individual parts well. Therefore we must all put in equal effort in ensuring good team assignments being done.

c) Reflecting on our past 4 weeks of team-working, we done well at exchange of opinions. We can always share our own opinions well in our process of solving the problem. We could do better on the score study.

Zheqi answer:
a) How do you relate drama in music with our own practical performance? Give examples.

Drama in music as a composer would  translate as the ability to manipulate a listener's ear through the intricate craft of composing a piece of music.
Regardless of whether it is tonal or newer sounding music, effective use of orchestration and mastery of the characteristics of each instrument's timbre will allow the composer to convey his or her intentions with the composition.
In terms of vocal music, the attention and sensitivity towards syllabic stress and characteristics will help to convey drama and emotions.

C) Reflecting on our past 4 weeks of team-working: what have we done well, and what can we do better?

We are pretty friendly and open to each other's opinions, and we do make the effort to try and engage as a team.
However, we are all quite passive and this sometimes result in lack of momentum to kickstart the team effort.

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New Beethoven                                                                                                                 (9th Feb 2018)                                                         Aaron, Jin Xia, Zhi Shin, Zhi Ting                                                                     a) How do you relate drama in music with our own practical performance? Give examples.                  b) How do the ensemble finales in Classical operas enhance our understanding about team dynamics?                                                    c) Reflecting on our past 4 weeks of team-working: what have we done well, and what can we do better?                                                 a) In order to bring life to the music we play, elements such as emotions and characterization that are prominent in drama can be applied. One single piece can portray various characters (generating a variety of emotions), so long as we make the effort to relate the key changes and harmonies to a particular passage, focusing a specific tone color that befits the personality of the character that we have decided on. In any piece of music there will be dialogue between different “voices” (e.g between different registers of the keyboard), bringing about the idea of conflict and resolution, just like how the characters in drama interact with one another. Also, each phrase in music can be likened to a phrase in the speech of drama, the difference being the means of expression – the former is in note-form while the latter is verbalized in words. With that in mind, we can sing the notes of a particular phrase in our piece, to get a better idea of its shape. All these will help us convey the message of our music to the audience, as if we are having a conversation with them. For example, in Schumann's Kinderszenen Op. 15 No. 13, Schumann puts himself in the shoes of a poet and speaks to us in recitative-like phrases, pouring out his emotions in the lyrical lines. The different voices enter together at the beginning of the piece, but slowly begin to separate and generate tension between one another, eventually resolving towards the end. Another example, Mozart sonata, K309, Mozart conveys the characteristic of unique musical portrait of a real person in the second movement. As such, we should approach our pratical performances in a way where some phrases should act in different forms such as recitative, aria and chorus to carry out convincing melodic idea.                                     b) The ensemble finales in Classical opera signify the harmonious blend of distinct personalities. Each person has their own unique traits, along with their strengths and weaknesses. It is important that everyone in the team recognizes and understands one another’s differences, so that we know what is best to contribute to the group and which areas to help one another on. In order to understand and know each other better, we should often communicate with each other through listening others opinion and voicing our own point of view. Depending on the context, the role of every team member will change. At times, some will have to be leaders (main characters) and others will have to be followers (supporting characters), but ultimately everyone works together towards a common goal. These healthy mindsets will create positivity to enhance team dynamics.                                     c) Even though our team was newly put together, we have had a pleasant time working together. We are getting better to participate ourselves in discussion and encourage each other to excel in every challenge. Everyone has been accepting of one another’s opinions and is willing to help another, so there were no awkward moments of tension. We clearly know that our aim in doing team work is not only to achieve ultimate goal but also to improve ourselves, help and learn from each other. Moving forward, we could expand our knowledge on Classical music by researching outside of class, and compiling notes together as a team to aid in revision.

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New Beethoven                                                                                                                 (9th Feb 2018)                                                         Aaron, Jin Xia, Zhi Shin, Zhi Ting                                                                     a) How do you relate drama in music with our own practical performance? Give examples.                  b) How do the ensemble finales in Classical operas enhance our understanding about team dynamics?                                                    c) Reflecting on our past 4 weeks of team-working: what have we done well, and what can we do better?                                                 a) In order to bring life to the music we play, elements such as emotions and characterization that are prominent in drama can be applied. One single piece can portray various characters (generating a variety of emotions), so long as we make the effort to relate the key changes and harmonies to a particular passage, focusing a specific tone color that befits the personality of the character that we have decided on. In any piece of music there will be dialogue between different “voices” (e.g between different registers of the keyboard), bringing about the idea of conflict and resolution, just like how the characters in drama interact with one another. Also, each phrase in music can be likened to a phrase in the speech of drama, the difference being the means of expression – the former is in note-form while the latter is verbalized in words. With that in mind, we can sing the notes of a particular phrase in our piece, to get a better idea of its shape. All these will help us convey the message of our music to the audience, as if we are having a conversation with them. For example, in Schumann's Kinderszenen Op. 15 No. 13, Schumann puts himself in the shoes of a poet and speaks to us in recitative-like phrases, pouring out his emotions in the lyrical lines. The different voices enter together at the beginning of the piece, but slowly begin to separate and generate tension between one another, eventually resolving towards the end. Another example, Mozart sonata, K309, Mozart conveys the characteristic of unique musical portrait of a real person in the second movement. As such, we should approach our pratical performances in a way where some phrases should act in different forms such as recitative, aria and chorus to carry out convincing melodic idea.                                     b) The ensemble finales in Classical opera signify the harmonious blend of distinct personalities. Each person has their own unique traits, along with their strengths and weaknesses. It is important that everyone in the team recognizes and understands one another’s differences, so that we know what is best to contribute to the group and which areas to help one another on. In order to understand and know each other better, we should often communicate with each other through listening others opinion and voicing our own point of view. Depending on the context, the role of every team member will change. At times, some will have to be leaders (main characters) and others will have to be followers (supporting characters), but ultimately everyone works together towards a common goal. These healthy mindsets will create positivity to enhance team dynamics.                                     c) Even though our team was newly put together, we have had a pleasant time working together. We are getting better to participate ourselves in discussion and encourage each other to excel in every challenge. Everyone has been accepting of one another’s opinions and is willing to help another, so there were no awkward moments of tension. We clearly know that our aim in doing team work is not only to achieve ultimate goal but also to improve ourselves, help and learn from each other. Moving forward, we could expand our knowledge on Classical music by researching outside of class, and compiling notes together as a team to aid in revision.

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Calligenia, Henrie, Kat Ying, Soon Lin, Varence (9/2/18)

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Calligenia, Henrie, Kat Ying, Soon Lin, Varence (9/2/18)

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1. One needs to be agitated oneself to agitate others. The understanding of dramatic elements and theory will help us to immerse ourselves in the character we intend to portray in our music — in a ‘Stanilavskian’ manner so to speak — as in the characters of an opera.  Thus, to effectively plumb the emotional depth of a work and construct a compelling narrative, we ought to explore the extra-musical elements that contribute to the composition, such as information relating to the composer's life. This also includes the awareness of dramatic devices such as the use of chromaticism, diminished and dominant seventh chords; as well as appoggiaturas; for dramatic tension. Occasional violence in dynamic contrasts as well as modulations to the minor key should be sufficiently exploited for dramatic effect. For instance, in some of Mozart's piano sonatas, he modulates to a minor key in the second subject to juxtapose opposing moods, as seen in the second movement of sonata in D, K. 576 where Mozart modulates to a darker key of F# minor from the dominant major of the home key, with ample use of chromaticism.

Learning more about the ‘bel canto’ style will also offer us insights into phrasing that corresponds to vocal technique, and provides heightened tension. This can stem from the conscientious study of libretti and their setting. We can also invent mnenomics during practice for more meaningful immersion.

2. The ensemble finales in Classical operas show that collaborative effort is vital. The unique voices and individual flavours culminate in one purpose — to deliver a splendid performance. We need to understand our roles, the appropriate moments to bask in the spotlight, and the moments to complement the other characters on stage. Everyone has an indispensable role. For instance, in polyphonic texture, all voices are of equal importance and they take turns showing up, at the same time, as a form of dialogue. Therefore, a good team is where every member engages in communication, works together and gives their utmost best.

3. We have been completing our assignments on time and our communication is effective, though we need to be prepared before we meet each other to discuss our issues and we need to be have more initiatives in offering our opinions instead of relying on a single person to come up with good ideas. We should also manage our time better and start work on our part earlier, as well as delegating equal tasks to every member.

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Lily, Xin Yi, Isabel, Angie, Delin (9/2/18) 

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Lily, Xin Yi, Isabel, Angie, Delin (9/2/18) 

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a) How do you relate drama in music with our own practical performance? Give examples.
On the topic of drama in music, it emphasizes on the aspect of emotions and the ability to convey it. It is not only about using the voice as an instrument, but the heart as well. It is incumbent that one must have the right direction and emphathy in order to acheive and present the right quality of music. This is because drama in music uses only the human body and as such, it requires the presence of unity between body mind and soul, to craft out a work that is personal and rewarding to the listeners/audience.

Take for example, the dreamlike Nocturne in F op 15 no 1, written under the spell of anna bolena's homesick aria in Donizetti's opera. Some prominent characteristics of this work are the melodic and ornamental echoes, the atmosphere, mood and the sound-picture. This particular work highlights the visual aspect of drama in music and our ability to imagine a place/setting in our music.

In the case of Mozart's piano sonatas, it is important to study his vocal works in order to acheive an accurate illustration of his musical ideas. This is because his piano sonatas are highly influenced by his operatic writings. Also, taking note that he is a person of humor, one could use the features of an opera buffa in order to understand and evoke the 'humor' used in his works. This can be through his choice of keys and the way he structures the music.

b) How do the ensemble finales in Classical operas enhance our understanding about team dynamics?
Finales in Classical operas are dramas pushed at break-neck speed by having 2 or more soloists singing contrapuntal lines to separate text, each expressing a particular point. This reflects us as a group as we are all very different individuals working towards a same goal, similar to the finale, which is the end of the piece, where the work is heading towards. For example, each of us might have different understandings about topics taught in class, but when we come together to share our thoughts, we accommodate to each other and come to a final decision, which we think would benefit our final grade

c) Reflecting on our past 4 weeks of team-working: what have we done well, and what can we do better?
We didn't do much preparation for the tests and lessons. Hence, we did not know our material well and so the quizzes were very challenging for us. We can also improve in teamwork such as studying together, which we have not done. Moreover, although we want to do well, we lack a strong team spirit, and a sense of togetherness and unity as a team.

As for what we have done well, we are all very open to new ideas and take criticisms well. We are able to sort out differences in opinions in an amicable way. We are willing to listen to those of us with different points of view and respect one another's opinions. We also try to involve everyone in the discussions. We delegated work to each member of the group and this worked out quite well. For communication, it was not a problem as we can understand one another and make sure that everyone who speaks can be understood fully. We compromise when appropriate, and know when to take initiative in certain tasks and when to be a follower.

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Aaron, Jin Xia, Zhi Shin, Zhi Ting

a)How do you relate drama in music with our own practical performance? Give examples

b) How do the ensemble finales in Classical operas enhance our understanding about team dynamics?

c) Reflecting on our past 4 weeks of team-working: what have we done well, and what can we do better?

a) In order to bring life to the music we play, elements such as emotions and characterization that are prominent in drama can be applied. One single piece can portray various characters (generating a variety of emotions), so long as we make the effort to relate the key changes and harmonies to a particular passage, focusing a specific tone color that befits the personality of the character that we have decided on.

In any piece of music there will be dialogue between different “voices” (e.g between different registers of the keyboard), bringing about the idea of conflict and resolution, just like how the characters in drama interact with one another.

Also, each phrase in music can be likened to a phrase in the speech of drama, the difference being the means of expression – the former is in note-form while the latter is verbalized in words. With that in mind, we can sing the notes of a particular phrase in our piece, to get a better idea of its shape. All these will help us convey the message of our music to the audience, as if we are having a conversation with them.

For example, in Schumann's Kinderszenen Op. 15 No. 13, Schumann puts himself in the shoes of a poet and speaks to us in recitative-like phrases, pouring out his emotions in the lyrical lines. The different voices enter together at the beginning of the piece, but slowly begin to separate and generate tension between one another, eventually resolving towards the end. As such, we should approach our practical performances in a way where some phrases should act like a recitative or even an aria to the audience.

b) The ensemble finales in Classical opera signify the harmonious blend of distinct personalities. Each person has their own unique traits, along with their strengths and weaknesses. It is important that everyone in the team recognizes and understands one another’s differences, so that we know what is best to contribute to the group and which areas to help one another on. Depending on the context, the role of every team member will change. At times, some will have to be leaders (main characters) and others will have to be followers (supporting characters), but ultimately everyone works together towards a common goal. These healthy mindsets will create positivity to enhance team dynamics.

The ability to sing together in a chorus or ensembles (duet, trio or quartet) bring about the neccessity of working together as a whole. Even the natural conversing within two characters in a recitative requires good team dyanamics to practise and perform properly

c) Even though our team was newly put together, we have had a pleasant time working together. Everyone has been accepting of one another’s opinions and is willing to help another, so there were no awkward moments of tension. Moving forward, we could expand our knowledge on Classical music by researching outside of class, and compiling notes together as a team to aid in revision?

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Clöck (Drama in Music) - Kai-Xin, Raimi, Rafika - 9 Feb 2018

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Clöck (Drama in Music) - Kai-Xin, Raimi, Rafika - 9 Feb 2018

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As a team, think and reflect on these three questions:

1. How do you relate drama in music with your own practical performance? Give examples.
Music in drama is basically some sort of multiplier effect for the drama. Without sound, the element of "drama" should not exist in the first place. Sound has the capability to enhance drama in a way that the events in the scenes might affect the audience more effectively compared to mere visuals with no sound. For example, in a horror movie, if the sound is taken out of the movie, the element of surprise (and hence horror) should be cancelled. As for the application to our practical performance, in our performances, it is crucial that we emphasize on the dramatic effects that the composer intends the performers to do, such as syncopations (switching between on and off beats), dynamic contrasts, changes of key, lyrical portions, chromaticism, dominant sevenths, diminished sevenths, and so on. However, it is also important that we emphasize the aforementioned elements contextually and knowledgeably. By doing so, our performances should become more creative, imaginative, narrative and interactive.
Let us take Mozart's The Magic Flute opera as an example. In the opera, there is a character named Papageno, who is clumsy, comical, know-all (even though he actually knows nothing), and cheerful. We feel that these traits somehow resemble the solo clarinet in the first movement of Mozart's Clarinet Concerto. Throughout the runs and arpeggios in the first movement, for instance, we can visualize and imagine Papageno bragging about himself and yet there is a sense of holding back, since he himself is in fact a coward. Then, as the concerto moves on to the development section where it modulates to a minor key, we can imagine Papageno crying over the loss of his loved one. These dramatic effects will surely help to make the piece more interesting.

2. How do the ensemble finales in Classical operas enhance our understanding about team dynamics?
Ensemble finales are made out of small numbers that build each other up to reach the climax. This concept helps us to understand that in team dynamics, as when a group of people works together by doing their share of part, joining hands together should help to alleviate the weight of the workload for each team member. To put it simply, if done individually, the work would most likely not be as efficient and effective as what it would be if done as a team.
In addition, as a team, it is crucial that all of our team members prepare (or rehearse, in the case of preparing a musical performance), participate/practice, communication/present, promotively interact, and collaborate well with each other. This is depicted in the setting of ensemble finales - the good works/singings all the soloists in the opera have performed throughout the preceeding scenes and acts come together and accumulate into a magnificent climax/ending. Similarly, in a team, if all of the members do the assigned tasks accordingly, the output/result should be satisfactory.

3. Reflecting on our past 4 weeks of team-working: what have we done well, and what can we do better?
Reflecting on the past 4 weeks, our team has been able to execute all the assigned tasks without passing the deadlines set by ourselves. What could have been better is that we could have physically met up more frequently to understand each other's point of view rather than just working virtually and merely meeting deadlines. In regards to that, there were a few performances ongoing for some of our team members, hence the lack of sitting down and understanding the topic(s) together. Therefore, next time, we will try our best to fix the aforementioned issues and bond better with each other.

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Calligenia, Henrie, Kat Ying, Soon Lin, Varence

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Calligenia, Henrie, Kat Ying, Soon Lin, Varence

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1. One needs to be agitated oneself to agitate others. The understanding of dramatic elements and theory will help us to immerse ourselves in the character we intend to portray in our music — in a ‘Stanilavskian’ manner so to speak — as in the characters of an opera. Learning more about the ‘bel canto’ style will also offer us insights into phrasing that corresponds to vocal technique, and provides heightened tension.
2. Collaborative effort is vital. The unique voices and individual flavours culminate in one purpose — to deliver a splendid performance.
3. We have been completing our assignments on time, though it will serve us to manage our time better and start work on them earlier.

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Present Stance:
-Bigger venue, better acoustic
-Better workmanship of instruments (Technology more advanced)
-More music critics to improve quality of orchestra/ chamber/ performance
- Uses a lot of ideas and does not conform to forms and theories.
- Musicians are independent, records and hold concerts on their own

Past Stance:
- Concert etiquette during the past: Much smaller venue, more appreciative audience
- Lesser instruments, type of instruments (the material/technology of instruments)
- Usage of instruments,(clarinets were not very much used) size of orchestra
-Venue of performance affects the size of orchestra
- Classical composers focus more on theories and forms
- Music more balance, more elegant.
- Concerts were held by authorities, aristocrats.

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During this period, composers expressed certain basic traditional concepts of music in terms of form and structure.

The focus of the work began to shift to the lives of ordinary people, and musicians began to rely on royalties to support their livelihoods, rather than relying on the pay of the court or the church.

Music structure shows balanced, elegant and harmonious atmosphere.

Music's works began to be transformed from the traditional music of music to instrumental music, and the emergence of piano works is also a feature of this period. During this period, the major music structures such as symphonies, sonatas and so on were formed.

music is freer compare to the past.

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What we know about classical period:
J: 'classical' refers to western art form music, "Classical" is specifically referring to the period

D: The original Vienna school of Classical composers: Mozart Beethoven Schubert Haydn

JY: Haydn is the god of genre of symphony writing.

Jo: Some Classical period characteristics: Form over feeling, homophonic, clear structures

Joey: Basso Continuo decreased in usage throughout the Classical Period

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Past stance
More structured - Lily
Form over feeling - Delin
More towards performing in a salon than in a concert - Angie
Classical orchestras have a smaller size (<20) - Isabel
Duration of the music is longer in the past - Aaron
Composition of the music is stricter and not as open-minded - Xin Yi

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Linhwa, Yi Er, Kevin, Noryn

Past : able to hear clear tonal centers
Present : chromaticism, modal
- Kevin

Past : sacred
Present : performed publicy
- Yi Er

Past : Handwritten manuscript
Present : digital manuscript, use of technology
- Lin Hwa

Past :

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Present Stance:
-Feeling over form (Melva)
-Elegance and balance
-Composition based on Landscape and Nature
-Acoustics of the hall (more horizontally wide)
-Trills are more detailed

Past stance
-Form over feeling (Elias)
-More structural need (Jess)
-Stricter rules (Melva)
-Women must learn keyboard instruments and teach their kids (Jess)
-Concert hall is more horizontally wide. (Melva)

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Julian: Simplicity is beauty
Jiaoyan: clearly identified phrasing. Strict timing
Naomi: strict conventions
Clare: neat form. Classical harmony progression

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Henrie: As opposed to the objective standards of beauty in the past, music today has been reduced to a means of subjective self-expression that is inclined towards pandering to the masses and speaking directly to the hearts of the people.

Varence: Music in the present has more freedom in form as compared to the past due to the need to conform to traditional classical standards.

Jin Xia: There were technologically constraints in the past which limited possibilities and affected their means of expression.

Zhi Ting: Composers were able to take more liberties in the process of writing music.

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1) Eunice, Yu Jie, Yi Yue, Li Duo,
Xiao Wen and Wu Fei

2) Styles of classism
Different background of composers
Analysis of classical scores
3) we can expand our range of music that we listen to.
We can be more proactive in our research and contribution
4) improve the English language
Be more bonded as a team
Be more specific and proactive in our research and answers
Present stance:
-

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Linhwa, Yi Er, Kevin, Noryn
2. The evolution of music from baroque to classical era, composers’ background and styles
3. Communication, mutual agreements, equal distribution of work
4. have a deeper understanding of the classical era, to be able to explain the differences between baroque and classical, TEAMWORK

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a) Think of the character of the piece while playing any piece; using emotions to bring out the story; Actors in musical dramas change the mood of the story in many ways such as facial expressions, the tone in their speech/singing and many more. We, pianists, must be able to do this too. Whenever there is a harmonic or mood change, we have to react rightly to it and deliver our intentions to the audience. Like the actors on stage, we as performers have to dress appropriately (eg. Hair up (if necessary) and neat attire) when performing. We also have to look confident when entering the stage.
When we perform, we have to be able to sing the melody or piece inside our heads before starting, in preparation to reduce the tensions, nervousness and carelessness if we just play directly.
Engaging with the audience is important as we have to communicate with them through our music and words (when delivering a speech).

b) In the ensemble finales, each soloist has his/her own line to sing and make up the contrapuntal texture. We feel that in team projects, each individual has his/her own respective role. These roles altogether complete the task given. Like the soloists when singing the finales, the team members have to listen to one another. Moreover, like the polyphonic texture in an ensemble, every team member has to engage in conversation in order to result to a good outcome.

c) We find time to discuss our ideas and come up with solutions for our group tests. We also divided our workload amongst ourselves and combined them afterwards. We mostly share our ideas to one another.
Improvements: eat lunch together and bond together to get to know each other more.
After comparing our goals in our previous post, we realised that we have grown closer and contacted one another more often in WhatsApp group. We are more willing to share our ideas and keep an open mind to accept criticism.
We reminded one another to finish our individual tasks (that was assigned for group work) on time and managed to not procrastinate.
In the future, we will work harder. Jia You! (:

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We want to understand more about the different composers' styles in the Classical Period.

It was FUN. NOTHING could be better. (Except team test)

Team goals :
1. Be happy together - enjoying history
2. DO YOUR WORK ON TIME
3. Hand up work on time
4. Schedule properly

Ka1-X1n, Rafika, RAIMI, märk

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-We would like to learn other minor composers (eg. Clementi, etc.)
-We could more opportunities for discussions
Team goals:
1. Be committed and finish assignment in time. (i.e. don't procrastinate)
2. Discussions to be fruitful and have everyone's input
3. Learn from each other's mistakes and improve from there.
Group members:
Elias, Jesselyne, Melva, Iola, Joelle

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Seranade K239 (Randy, Breyann, Zehao, Jing Lun)

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Seranade K239 (Randy, Breyann, Zehao, Jing Lun)

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1. More about classical genres
2. We think that we could have done more detailed research and more efficient with our deadlines.
3. Goals: Punctual, persevere and efficient

Present Stance: Instruments now is now more developed. Performance venues will affect performances for example with modern state of the art halls. Tuning now is much sharper than in the past.

Past Stance: In the past, the instruments were developing to current standards now and the sound was also different back then. Veunes also provided a different experience. The tuning in the past were much flatter as compared to now

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Joey, JunYu, Janelle, Jasper, Danielle

-we want to learn more about classical music and Beethoven! Our team goal is to get an A for History!!!
-communication can be better and more diligent in our work.
-1. GET A FOR HISTORY
2. BUILD FRIENDSHIPS AND BOND AND LEARN TOGETHER
3. Complete all assignments in time OTOT (on time on target)

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1. Aaron, Angie, Delin, Isabel, Lily, Xin Yi
2. We would like to learn about keyboard sonatas from the Classical period.
3. We didn't have enough chances to work together as a team last semester, we hope to have more exposure working as a team.
4. a. Communicate more in discussion
b. Be more proactive in engaging each other
c. Learn effectively as a team

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Learning Goals:
1. Understanding the background and style of music of the classical period and how they can be applied to performance.
Team Experience:
1. It was a collaborative experience and we look forward to another fruitful group-learning experience this semester.
Team Goals:
1. Be commited to always completing assigned tasks on time and executing them well.
2. Maintaining healthy team dynamics.
3. Always prioritising our learning progress and the consistent procurement of knowledge regardless of external stressors.

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Julian naomi zhangjiaoyan chenlianyi1.The difference between classicissm and bew classicissm
2.Communication. Proactiveness. Intereste in communicate. Sharing of the work load.
3.a.Everyone on the same page when doing team work.
b.Minimum distraction
c.Everyone being responsible for the team project and dedicated to

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a) How do you relate drama in music with our own practical performance? Give examples.

Drama in music seeks to evoke emotions from the audience thus it is important for the performers to also be emotionally involved/engaged in the performance.

We also feel that it is important to understand the reasons behind why the composer wrote in those particular lyrics and then use that knowledge to properly act as the characters he had created so carefully.

b) How do the ensemble finales in Classical operas enhance our understanding about team dynamics?

In the past, operas were dominated by solos, duets, trios and the occasional quartet. The use of the ensemble finales which call for the entire operatic cast is a stark difference to the indifferent small groups of the past. With all the cast coming together in the end with all their different mind-sets, emotions and backstories, it serves as a very powerful climactic point in the Opera.

For our group to improve, we must overcome the Baroque mind-set of having as few singers as possible and come together like the ensemble finales of the orchestra period.

c) Reflecting on our past 4 weeks of team-working: what have we done well, and what can we do better?

We have done well in dividing up our work so that none of us are overloaded.

All we need now is to communicate better during group assignments. : )