Syllabus

for Fall 2021, subject to change. If there are any questions, please see my contact
information.

Instructor: Dra. Chelsey Geeting
Email: chelsey.geeting@udlap.mx

CHOIR I AND II

Course Content
• At the end of the semester, students will be able to demonstrate the following:
• Knowledge and application of healthy vocal production, choral repertoire and techniques
• Advances in critical thinking, collaboration, musicianship, and lyric diction in multiple languages
• Development in the use of the International Phonetic Alphabet
• Building context, characterization, and immediacy in performance of multi-language repertoire
• Development of sightreading skills

Required Materials
• internet connection
• an electronic device with video chat capability
• scanner function or scanner app
• binder, pencils, and highlighter
• printed music (please talk with me if this is not possible)
• Additional materials may be required and may be provided by the instructor when possible

Suggested Texts NOT REQUIRED:
• Adams, David. A Handbook of Diction for Singers: Italian, German, French, Second Edition.
Oxford University Press, 2008. (Highly recommended)
• Montgomery, Cheri. IPA Handbook for Singers, Nashville: S.T.M. Publishers, 2015
• Alwes, Chester L. A History of Western Choral Music, from Medieval Foundations to the
Romantic Age, Volume 1. Oxford University Press, 2015
• More TBA, available by voice type

Course Procedures and Expectations:
• Students will be expected to be on time and attend all rehearsals. If a student must cancel or be
more than 10 minutes late, it is the responsibility of that student to notify the instructor 24
hours in advance. More than 2 unexcused absences will result in whole-point deductions from
the overall semester grade. Tardiness will result in a reduced grade.
• The student must take ownership of their progress, and will be responsible for daily practice
outside of the rehearsal, including learning their notes, rhythms, and lyrics on their own before
the rehearsal. I will not teach notes and rhythms in the rehearsal and reserve the right to move
on to other repertoire or to another student if there is not sufficient practice. Practice includes,
but is not limited to, learning notes, translating text, practicing the text, practicing the melody,
transcribing IPA (AFI), counting rhythms, planning breaths, researching the piece and the
composer, practicing together with colleagues outside of rehearsal, etc. If there are questions
about practice strategies, please refer to my contact information at the top of this syllabus.
• Students will be responsible for bringing all necessary materials to classes and performances.
Similarly, students will be responsible for maintaining a clear internet connection to the best of
 their abilities during distanced rehearsals, and ensuring that they bring their music and best
preparation to each distanced rehearsal.
• Students will dress “professionally” for all performances.
• Patience, flexibility, and communication will be key as we work together online during the
contingency.

Grading
• 20% - participation quality. Includes satisfactory development of assigned repertoire,
preparation for rehearsals, active participation in choir projects, meeting memorization
deadlines, bringing required materials to class.
• 20% - attendance. Grading in this category includes tardiness.
• 20% - individual project.
• 15% - completion of specific weekly homework assignments. This may consist of IPA
transcription, writing translations, making musical markings, keeping a journal, reading passages
from instructional books on related subjects, etc. These assignments will further the student’s
investigation of their repertoire and will be tailored to their progress.
• 15% - Sightsinging exercises and quizzes.
o Grading for sightsinging: 10-sang the entire piece without stopping, maintained the
correct tonality, no rhythmic issues. 8-sang the entire piece, maintained the correct
tonality and rhythm, needs minor review of intervals. 6-sang the entire piece, needs to
review some intervals and/or rhythms. 4-sang the entire piece with longer pausing or
stopping, needs major review of rhythm and intervals. 2-did not finish the piece, needs
to review intervals and rhythms.
o NB: At the discretion of the instructor, a student may receive credit for this portion of
their grade by completing written assignments. This is reserved as a last resource and
only due to extenuating circumstances.
• 10% - Final project, this grade will track satisfactory participation in a final performance of
assigned repertoire to be performed on campus or via digital platform

Weekly schedule (this is an outline and is subject to change)
8/16 1. Western Choral Music – Medieval Foundations
8/23 2. Sacred Choral Music of the Renaissance
8/30 3. Secular Choral Music of the Renaissance
9/6 4. Sacred Choral Music of the Renaissance (pt. 2)
9/13 5. Sacred choral music in England
9/20 6. Choral music of the Italian Baroque
9/27 7. Choral music in Germany from Hassler to Buxtehude
10/4 8. French Baroque music
10/11 9. Choral Music in England from the Restoration to Handel
10/18 10. The Choral Music of JS Bach
10/25 11. Aspects of Classicism and Romanticism in Choral Music
11/1 12. The Mass
11/8 13. Romanticism and the Requiems of Mozart, Berlioz, Verdi, and Brahms
11/15 (other activities)
11/22 14. Sacred choral music from Mozart to Liszt
11/29 Finals

Disability Statement: I am committed to providing reasonable accommodations for all persons with
disabilities. The syllabus may be made available in alternate formats upon request. If you have a
disability that may have some impact on your work in this class and for which you may require
accommodations, please schedule a meeting with me, so that such accommodations can be considered.

Academic Honesty Statement: Submitted materials, including homework, must represent your own
work, not a replication of anyone else’s or any website’s content. Group work must not exceed the
instructions of the instructor. Use of other’s work must be appropriately credited. Homework completed
during class on the due date will be considered an automatic grade of “0” since the topic is being
covered during that class meeting. Students who commit plagiarism can expect severe academic
consequences.

Safe Space Statement: I am committed to providing a Safe Space for individuals of the LGBTQ+
community. This means that I will, to the best of my ability, provide a physical safe space (my office and
classrooms) where people can feel accepted, safe, and respected. I will also continue my Safe Space
training indefinitely, and search for local and statewide resources so I may offer assistance and support
if necessary and/or requested. I will NOT tolerate harassment or discrimination of any kind, including
that which is based on sexual orientation or gender identity/expression.

Office hours: Please contact for an appointment
Calendar: available on Blackboard or by request







Important: Do not audio/video record, conduct a phone call, or use a video chat app during class
without the acknowledgment and approval of the instructor.








I have read and understand the information above. I agree to fulfill my responsibilities as a student in
this course to the best of my ability, and to refer to this document first if I have any questions about this
course.




Signed,
_________________________________________________Date:______________________