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Nole Jones, Instructor Illinois Wesleyan University School of Theatre Arts

(334) 224-5349 Fall 2018
Office Hour: Mondays 4:00 - 5:00, Shaw 23

MUTH 262: Applied Musical Theatre Voice

This course will seek to provide each singer with individualized feedback and guidance on their
vocal development, and to supply each singer with tools to advance their singing which they can
apply in their practice, classes, auditions, and performances.

Over the course of twelve voice lessons, twelve private coachings, and weekly repertoire
classes, each student will seek to make progress towards the following objectives:
● A more healthy, sustainable, and expressive vocal technique
● Further knowledge about the physiology and function of their vocal instrument
● Stronger musicianship skills and musicality
● Deeper understanding of the vocal demands and stylistic conventions of the diverse
array of musical genres represented in the musical theatre canon
● A personal repertoire of music that is continuously growing and broadening in both
stylistic range and artistic complexity, specifically tailored to advance technical goals and
provide practical material for use in the student’s studies and career

Lessons: individually arranged time, Shaw 23
Coachings: individually arranged time and location
Repertoire Class: Thursdays 4:00 - 5:30 p.m., Evelyn Chapel

● One black 1” binder for me. I will keep this in my office, and use it to store a copy of
each piece of repertoire that we work on together (you will not have to purchase this
more than once; I will continue to use the same binder for every semester).
● Three copies of music for each of your repertoire selections: one double-sided printed
copy for me, one copy for you in your prefered format, and one copy for your
collaborative pianist in their prefered format.
● Items you should bring to every lesson:
○ Your repertoire book and any other necessary books or scores
○ An audio recording device (phones are acceptable)
○ Pencils
○ Water

Lessons: 12 lessons worth 10 points each 120 Points

● Attendance and punctuality: 2 points
● Musicianship and music preparation: 2 points
● Preparedness and responsiveness: 3 points
● Completed voice journal: 3 points
Coachings: 12 coachings worth 5 points each 60 Points
Final Exam: presentation of all assigned repertoire at final lesson 60 Points
Rep. Class Performances: two performances worth 15 points each 30 Points
Rep. Class Attendance: worth a collective 30 points 30 Points

Total: 300 Points

Letter Grade Scale:
A: 282 - 300 (94 - 100%)
A-: 270 - 281 (90 - 93%)
B+: 261 - 269 (87 - 89%)
B: 249 - 260 (83 - 86%)
B-: 240 - 248 (80 - 82%)
C+: 231 - 239 (77 - 79%)
C: 219 - 230 (73 - 76%)
C-: 210 - 218 (70 - 72%)
D: 180 - 209 (60 - 69%)
F: ≦179 (≦59%)

MUTH 262 is the third semester of Applied Musical Theatre Voice for the Musical Theatre BFA
candidate. Repertoire is chosen by the student in collaboration with the private instructor, and
should reflect a level of complexity and practicality consistent with students who have completed
a full year of study in a Musical Theater BFA degree program. The minimum repertoire
requirements for the semester is five pieces of appropriate musical theatre or popular music to
be learned, memorized, and prepared for public performance. All selections must be ready to
perform from memory at the final lesson of the semester. The student is also responsible for
identifying a 16-bar cut and 32-bar cut in each selection.

Attendance and Punctuality: Your attendance at each scheduled voice lesson, coaching, and
meeting of the repertoire class is required. The following policies apply:
● You are allowed one excused lesson absence per semester which will not affect your
final grade, provided that proper notice is given. Additional absences will result in loss of
credit. (Seniors may be granted additional exemptions for audition-related absences; see
Scott Susong for details. Prolonged absence due to illness or other extenuating
circumstances will be addressed on an individual basis.)
● If you anticipate missing a lesson, notice should be provided to both the instructor and
collaborative pianist as soon as possible. Failure to provide at least two hours notice will
result in partial loss of credit, and failure to provide any notice will result in loss of all
credit for the entire lesson.
● In the event of illness, you should not attend your lesson, but must notify the instructor
and collaborative pianist as soon as possible that you are sick.
● Lessons missed because of student cancelation, including excused absences, are not
eligible for make-up lessons. Scheduled lessons missed because of instructor
cancelation will always be made up at a mutually agreed upon time, though the
presence of an accompanist cannot be guaranteed.
● Students are expected to arrive at all scheduled meetings on time. Any tardiness without
prior notification, OR any tardiness of more than five minutes will result in partial loss of
attendance credit. If you are running late, please send me a text message so I know that
you are on your way.

Preparedness: Because we only have the opportunity to work together for a total of twelve
hours over the course of the entire semester, it is imperative that you are prepared to make the
most of your lesson time, and spend time working outside the lesson on your own.
● Practice: it is absolutely imperative that you practice your vocal exercises and repertoire
between lessons, ideally at least one hour per day. Your lesson time is a time to make
adjustments and try new things, but most of your real progress will be made by applying
these concepts on your own outside of the studio.
● Preparation: you should arrive warmed up and ready to work both physically and
mentally. Any repertoire previously assigned to be learned or memorized should be
ready to present. The preparedness grade for each lesson is based upon your readiness
to work, evidence of practice, and appropriate preparation of repertoire. A lack of
practice or failure to learn or memorize music will be obvious, and will result in loss of
points. Particularly egregious instances of unpreparedness will result in being asked to
leave the lesson, and forfeiture of all of the lesson points.

Coachings: you will have twelve half-hour repertoire coachings with your collaborative pianist.
The attached coaching attendance form should be initialled by your pianist at each coaching,
and turned in at the final lesson of the semester.

Journal: students will be given access to a personal Google Document shared with the
instructor, are expected to use it to maintain a journal for reflections on lessons, practice, and
performances, as well as for repertoire research. Journal updates are graded weekly, and are
due at midnight on the evening before each lesson. Each week’s journal entry should include:
● Practice Reflections: thoughts about your singing throughout the week, with particular
emphasis on your personal practice time. This is not a practice log; I’m less interested in
keeping track of when you practice, and more interested in how you practice, what you
are working on, and how your voice is sounding and feeling to you. This is also a great
place to keep track of questions, observations, or concerns that we can address in our
lesson together.
● Performance Reflections (if applicable): reflections on your singing in any
performances or auditions that took place during the week. What was successful, and
what wasn’t as successful? How well do you think you integrated the ideas and tools
from your lessons and practice sessions into your public performance?
● Repertoire Research: research on every piece of lesson repertoire for the semester, to
be completed for each new piece before it is brought into the studio. This research
should include:
○ For stage works: basic information about the show including composer, librettist,
year of composition, year of Broadway premiere and any revivals, and notable
singers who have sung the role in question.
○ For popular songs: basic information including songwriters, notable performers,
and any relevant historical or cultural context.
○ A brief explanation of the given circumstances of the piece, no more than a few
sentences. If the song is not from a show, or it lacks sufficient given
circumstances in context, you must come up with your own.
○ Links to at least two representative high-quality recordings of the piece if they
exist, preferably from different time periods if possible. Example:

“Put On Your Sunday Clothes” from Hello, Dolly!

● Charles Reilly as Cornelius (1964 Original Broadway Cast):
● Gavin Creel as Cornelius (2017 Broadway Revival):

Plagiarism is the intentional or inadvertent misrepresentation as one’s own, the words, ideas,
research data, formulae or artistic creations of another individual or collective body, without
giving credit to the originator(s) of those words, ideas, data, formulae or artistic creations.
Because IWU takes very seriously the responsibility of ethical scholarship and writing,
plagiarism can result in a failing grade for an assignment, a course, or in some cases,
separation from the University.

For more information, see IWU’s official statement on plagiarism in the Student Handbook:
Coaching Attendance - Fall 2018

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