WESTERN MICHIGAN UNIVERSITY

School of Music
MUS 3310 INSTRUMENTAL CONDUCTING/LITERATURE
Spring 2015 Course Syllabus
MWF 9:00-9:50am
Instructor:
Dr. Scott Boerma
Office: 1428 Dalton Center
E-mail: scott.boerma@wmich.edu
Office: (269) 387-4703

Office Hours:
By Appointment

Course Objectives:
To develop habits and behaviors exhibited by successful instrumental conductors/educators.
Activities will include active ensemble conducting, body-awareness and basic movement exercises,
score preparation, literature research, critical listening projects, rehearsal observations, concert
programming, rehearsal preparation, and readings discussions.
Student Goals:
1. Master body language that responds to the musics expectations and invites the ensemble
members to participate.
2. Inspire ensemble members with a physical representation of what is to be heard, beyond
what is obvious in the written notation. Compel rather than navigate.
3. Increase the availability of your body to respond to your desired musical intent.
4. Raise your ability to listen and physically respond while conducting.
5. Master variables of expression (time/speed, space, and weight).
6. Achieve a heightened awareness of your body.
7. Develop a defined aural image and learn to express in specific terms how the sounds being
produced differ from your aural image.
8. Learn to portray aural images, listen to the resulting sounds, and gesturally respond by
confirming or modifying the sounds produced.
9. Improve your critical listening and technical conducting skills.
Required Materials:
Texts: Hunsberger and Ernst. The Art of Conducting. Second Edition. New York, McGraw-Hill,
1992.
Stotter. Methods and Materials for Conducting. Chicago, GIA Publications, Inc., 2006.
Spradling. Error Detection: Exercises for the Instrumental Conductor. Students Edition.
New York, Carl Fischer, 2010.
Other: A baton (12 to 15 inch), SDHC 8 GB memory card for video recording on digital video camera.

Course Requirements:
1. Class Participation/Attendance:
a. Be prepared to actively discuss reading assignments and conduct assigned musical
excerpts at each class meeting. Specific reading assignments and conducting unit
descriptions can be found in this syllabus, directly following the tentative calendar.
b. Have instruments (as appropriate) in each class for ensemble participation. While some
excerpts will require transposition for some instruments, it is your responsibility to be
prepared to play these at a high level for your conducting peers.
c. Attendance is expected at every class meeting. It is understood that severe illness,
personal emergencies, and Acts of God do occur, and for this reason the first two
absences will not count against you. After the second absence, your grade will be
reduced by one level per absence from your final grade. (For example, a B/A will be
lowered to a B.) Two tardies will equal one absence. Tardies will be defined as
entering the room after class has begun. Anyone entering after 9:15am will be
designated absent. Conducting assignments missed due to absence will not be made up.
If you are absent on the day of a conducting exam, it will not be possible to make up the
exam. Exceptions are made only with documentation from a medical doctor or a
university official.
d. All written assignments can be submitted 1) as email attachments (preferably Word), 2)
as hard copies, or 3) on E-learning according to the course calendar unless indicated
differently by the instructor. When written work is submitted via hard copy, it is due at
the beginning of class and will not be accepted after 9:15am.
2. Self Observations: You will receive significant podium time to conduct throughout the course.
It will be your responsibility to video your conducting experiences on each occasion, so bring
your SDHC card to every class. (Video recorder will be provided.) It is then essential that you
spend time reviewing your conducting footage and critiquing yourself. Therefore, you will be
required to fill out and turn in a self-critique form for each conducting unit (total of 4). (You
will not be required to turn in a critique of your error-detection experiences, but you will be
expected to view and critique them on your own.) Due dates are noted on the calendar in this
syllabus.
3. Conductor Observations: You must observe rehearsals by three professional conductors. Each
observation must last approximately one hour. You may choose to observe a conductor from
WMU or a public school teacher. If you would like to observe a conductor not in these
categories, you must get permission from Dr. Boerma. It is a professional courtesy to inform
the conductor of your intent to observe ahead of time. A form will be provided to you to fill
out for each observation. Detailed observation guidelines/suggestions are also provided under
Conductor Rehearsal Observations later in this syllabus. Due dates are noted on the calendar
in this syllabus.
4. Literature/Listening: Using the resource Teaching Music Through Performance in Band or
Orchestra (multiple volumes), select four (4) works from each grade level (1-6) by composers
you determine to be outstanding. (24 total works.) Listen to each work and write (in your own
words, of course) approximately one page for each piece, describing its instrumentation, overall
form, musical challenges, special needs or demands, and areas in which you would expect to
concentrate in order to prepare the work for a performance. Also provide reactions to the
expressive nature of the work as experienced through your listening. Remember that grade

levels are established to be a guide for ensembles of varying age and experience. Recordings
that accompany the series along with, in some cases, scores of the selected literature are in the
Music Library or Conductors Resource Center.
5. Programming: Using "your class C high school band/orchestra" as the model and all
available resources, program a concert to be presented at the end of the fall semester. The
concert should include approximately 30 minutes of music, and each piece should fit your
ensemble's strengths and weaknesses. (You will create this ensemble in your imagination,
choosing its strengths and weaknesses and describing them in your project.) The literature
selected should be reasonably challenging yet attainable for this time of the year. Your
band/orchestra meets five days per week for 50 minutes per day. This project will include:
a. rationale for your literature selections
b. general analysis and a description of ensemble suitability for each selection
c. eight-week rehearsal plan for all selections
d. a detailed rehearsal plan for day 3 in week 5.
6. Final Project: Make arrangements with a band/orchestra librarian to select one score of
significant literature from the appropriate library to prepare in detail and rehearse with the
Concert Band, Symphonic Band, or Symphony Orchestra. Clear your selection with Dr.
Boerma. Do a four-part analysis of your chosen work, based upon class discussions and
handouts. Prepare a rehearsal plan that demonstrates your efficient use of allotted rehearsal
minutes. You will provide a copy of your plan to the instructor prior to your conducting
experience. As with all preceding conducting experiences, be sure to bring your SDHC card to
video your performance. Following your rehearsal, complete a self-critique form evaluating
your rehearsal and discuss the results with Dr. Boerma prior to our designated exam time the
following week.
Grading Percentages:
Weekly Conducting/Preparation and Class Participation
Final Project
Programming Project
Literature/Listening Assignments
Self Observations/Critiques
Conductor Observations

30%
25%
20%
15%
5%
5%

Rubric for Written Assignment Grades:

Grade of A: Work is complete, represents a thorough, cogent, and well-developed
presentation of ideas, and is extremely neat and professional; shows exceptional effort, contains
very few or no errors, and would serve as a model for others.
Grade of B: Work is complete and is neat and professional, but lacks a thorough, cogent, and
well-developed presentation of ideas or contains frequent errors. Work shows good effort, but
would not be the best model for others.
Grade of C: Work is somewhat complete but is somewhat sloppy and contains numerous
errors. Work represents an average presentation of ideas or weak effort.

Grade of D: Work is fairly incomplete, is sloppy or unprofessional, and contains numerous

errors. Work represents a superficial presentation of ideas and weak effort.
Grade of E: Work is very incomplete, late, or not submitted at all. Work is excessively
sloppy or unprofessional and represents a lack of thought and little or no effort.
Grading Scale:
A = 93-100
B/A = 88-92
B = 83-87
C/B = 78-82

C = 73-77
D/C = 68-72
D = 60-67
E = 59 and below

Conducting Grades:
Grading a conducting student is a highly subjective process. As a student, you must have faith in the
ability and experience of your instructor to make subjective judgments about your performance as a
conductor.
Conducting, the physical part of it, comes very easily to some people and is more difficult for others.
The ability to effectively communicate non-verbally, lead, and rehearse an ensemble comes easily to
very few students. An experienced teacher finds it rather easy to discern which students are really
working in the course (that is, practicing and preparing) and which students are coasting. A word to
the wise should suffice.

Accommodation for disabilities Students with a documented disability (e.g., physical, learning,
psychiatric, vision, hearing, etc.) who need to arrange reasonable accommodations must contact
Disability Services for Students located at Woodlawn Place at the beginning of the semester. A
disability determination must be made by this office before any accommodations are provided by the
instructor. For more information, contact DSS (269) 387-2116.
Student academic conduct You are responsible for making yourself aware of and understanding the
University policies and procedures that pertain to Academic Honesty. These policies include cheating,
fabrication, falsification and forgery, multiple submission, plagiarism, complicity and computer
misuse. (The academic policies addressing Student Rights and Responsibilities can be found in the
Undergraduate Catalog at http://catalog.wmich.edu/content.php?catoid=22&navoid=882 and the
Graduate Catalog at http://catalog.wmich.edu/content.php?catoid=23&navoid=938.) If there is reason
to believe you have been involved in academic dishonesty, you will be referred to the Office of Student
Conduct. You will be given the opportunity to review the charge(s) and if you believe you are not
responsible, you will have the opportunity for a hearing. You should consult with your instructor if you
are uncertain about an issue of academic honesty prior to the submission of an assignment or test.

Tentative Calendar for MUS 3310, Spring 2015

Week of:
January 12
January 19
January 26
February 2
February 9
February 16

February 23

Monday
Syllabus /Discussion
Reading assn. #1 due Jan. 14

Wednesday

Friday

Reading Discussion,
Exercises, Units 1 & 2 Prep

Conducting Units 1 & 2

(Have your instruments)

Conducting Units 1 & 2

NO CLASS
(MMC - Grand Rapids)

NO CLASS
(Martin Luther King Day)

Reading assn. #2 due Jan. 30

Conducting Units 1 & 2

Conducting Units 1 & 2

Error Detection 1

Error Detection 1

Units 1-2 Self-Critique due

Lecture/Discussion
Error Detection Prep
Error Detection 1
Reading assn. #3 due Feb. 11

Error Detection 1

Lecture/Discussion

Conducting Units 3 & 4

Conducting Units 3 & 4

Observation #1 due

Conducting Units 3 & 4

Conducting Units 3 & 4

Lecture/Discussion

Final Project Selection due

Reading assn. #4 due Feb. 23

Error Detection 2
Stage One Analysis due

Error Detection 2

Units 3-4 Self-Critique due

March 2
March 9
March 16
March 23
March 30

April 6
April 13
April 20

Error Detection 2

Error Detection 2

NO CLASS
(Spirit Day)

SPRING BREAK

SPRING BREAK

SPRING BREAK

Lecture/Discussion

Conducting Units 5 & 6

Observation #2 due

Reading assn. #5 due Mar. 16

Conducting Units 5 & 6

Lecture/Discussion
Stage Two Analysis due

Error Detection 3

Error Detection 3

Conducting Units 5 & 6

Reading assn. #6 due Mar. 25
(prepare Stage Two by then)

Conducting Units 5 & 6

Error Detection 3

Reading assn. #7 due Apr. 6

Reading assn. #8 due Apr. 8

Units 5-6 Self-Critique due

Lit./List. Compilation due

Error Detection 3
Observation #3 due

Lecture/Discussion

Conducting Units 7 & 8

Stages 3 & 4 Analyses due

Conducting Units 7 & 8

NO CLASS
(Symphonic Band Tour)

Conducting Units 7 & 8

*FINAL PROJECTS

Conducting Units 7 & 8

*FINAL PROJECTS

Catch-Up, Discussion, etc.

Programming Assn. due
*FINAL PROJECTS

Catch-Up, Discussion, etc.

Units 7-8 Self-Critique due

*FINAL PROJECTS

*FINAL PROJECTS will be performed with the Concert/Symphonic Bands and Symphony
Orchestra during those ensembles regularly scheduled rehearsals. Be prepared to be at your assigned
rehearsal times.

READING ASSIGNMENTS (Note: In Hunsberger/Ernst readings, ignore Assignment at end

of each chapter)
ASSIGNMENT #1:
Stotter:
Unit 1:
Unit 2:
Unit 3:
Unit 8:

On the Podium (pp. 3-11)

Conducting in Three, Four, Two, and One (pp. 13-21)
Pick-Ups, Releases, and Fermatas (pp.23-32)
From Score to Podium (pp. 59-62)

ASSIGNMENT #2:
Stotter:
Unit 6: Use of the Left Hand (pp. 47-50) (No excerpts for this unit)
ASSIGNMENT #3:
Huns./Ernst: Chapter 7 (pp. 94-103)
AND Stotter: Unit 7: Changing Dynamics and Tempo (pp. 53-56)
ASSIGNMENT #4:
Analysis Project Handout: Intro and Stage One (pp. 1-3)
ASSIGNMENT #5:
H/E:
Chapter 8 (pp. 104-110)
Chapter 9 (pp. 111-117)
AND Stotter: Unit 4: Divided and Changing Meters (pp. 33-40)
ASSIGNMENT #6:
Analysis Project Handout: Stage Two (pp. 3-4)
ASSIGNMENT #7:
Stotter:
Unit 5: Asymmetrical Meters (pp. 43-45)
H/E:
Chapter 10 (pp. 118-125) (No excerpts for this chapter.)
Chapter 12 (pp. 134-143)
ASSIGNMENT #8:
Analysis Project Handout: Stage Three & Four (pp. 4-8)

CONDUCTING UNIT DESCRIPTIONS

For each unit, prepare all excerpts. Dr. Boerma will choose one from each unit for you to conduct
during your assigned rehearsal.
UNIT 1:
Stotter Unit 2: Conducting in Three, Four, Two, and One
Three: Chance: Variations on a Korean Folk Song (pp. 86-87)
Rossini: The Italian in Algiers Overture (pp. 184-185)
Four: Grainger: Irish Tune from County Derry (pp. 98-99)
OR Holst: Song Without Words: Ill Love My Love (2nd Suite in F) (pp. 150-152)
Strauss: Serenade, Op. 7 (p. 189)
Two: Holst: March, from 2nd Suite in F (pp. 136-149) (Discuss diff. between 2/4 & 6/8)
Susato: Ronde Mon Amy (pp. 192-193)
One: Grainger: The Lost Lady Found (Lincolnshire Posy) (pp. 100-101)
Vaughan Williams: Green Bushes (English Folk Song Suite) (pp. 210-211)
UNIT 2:
Stotter Unit 3: Pick-Ups, Releases, and Fermatas
Bach: Du Lebensfurst, Herr Jesu Christ (p. 69)
Bach: Wachet auf, ruft uns die Stimme (pp. 70-71)
Wagner: Rienzi, Overture (p. 214)
Beethoven: Symphony No. 5, 1st mvt. (handout)
Borodin: Symphony No. 2, 1st mvt. (handout)
UNIT 3:
Hunsberger/Ernst Chapter 7:
Excerpt 7-2: Rossini: LItaliana in Algeri, Overture (pp. 254-256)
Excerpt 7-10: Haydn: Symphony No. 104, 1st mvt. (pp. 279-281)
Stotter Unit 7: Changing Dynamics and Tempo
Mozart: Romanze (Serenade K. 361/370a) (p. 175)
UNIT 4:
Stotter Unit 4: Divided Meters
Grainger: The Sussex Mummers Christmas Carol (pp. 104-105)
Vaughan Williams: Rhosymedre (pp. 195-197)
Bach: Prelude in G Minor (handout)
Burns: The Banks O Doon (p. 85)
Bizet: Symphony No. 1, 2nd mvt. (handout)
UNIT 5:
Stotter Unit 4: Changing Meters
Grainger: Horkstow Grange (pp. 94-95)
Holst: The Song of the Blacksmith (2nd Suite in F) (pp. 153-157)
Hunsberger/Ernst Chapter 8:
Excerpt 8-2: Mussorgsky: Pictures at an Exhibition, Promenade (pp. 292-294)
Hunsberger/Ernst Chapter 9:
Excerpt 9-6: Bernstein: Candide, Overture

UNIT 6:
Hunsberger/Ernst Chapter 9: Sustaining Gestures, Pattern Modification, and Supermetric
Patterns
Excerpt 9-5: Holst: The Planets, Mars (pp.326-329)
Stotter Unit 4:
Williams: Symphonic Dance No. 3 Fiesta (pp. 218-220)
UNIT 7:
Stotter Unit 5: (Changing &) Asymmetrical Meters
Makris: Aegean Festival Overture (pp. 172-174)
Reed: Armenian Dances (pp. 179-181)
Grainger: Rufford Park Poachers (Lincolnshire Posy) (pp. 102-103)
Chavez: Sinfonia India (Symphony No. 2) (pp. 88-89)
UNIT 8:
Hunsberger/Ernst Chapter 12: Contemporary Notation
Excerpt 12-1: Hunsberger: Etude (pp. 360-362)
Excerpt 12-2: Grainger: Lincolnshire Posy, Lord Melbourne (p. 363)

ERROR DETECTION UNIT DESCRIPTIONS

ERROR DETECTION 1:
Spradling Section 1: Introductory Exercises
ERROR DETECTION 2:
Spradling Section 1: Introductory Exercises
ERROR DETECTION 3:
Spradling Section 2: Intermediate Exercises

CONDUCTOR REHEARSAL OBSERVATIONS

Suggestions for things to consider, observe, and comment upon:
Technique:
Posture
Effective use of elbow, wrist, hand, baton
Clarity of patterns
Clarity of ictus
Use of vertical and horizontal planes
Musicianship:
Did the conductor use appropriate styles? How did he/she achieve the styles?
Did the conductor use gestures to show the sounds or stop and describe with words?
How did the conductor use his/her gestures to affect the sound?
Were dynamics appropriately shown?
Were there changes in tempo? If so, how did the conductor achieve these changes? Were they
smooth and seamless or labored?
Did the conductor give good/appropriate cues?
Did the conductor use the left hand independently and/or effectively?
Did the conductor use good facial expressions?
Rehearsal:
Was this an effective rehearsal? Were goals established and worked toward/met?
Was the conductor prepared, and did he/she demonstrate a thorough knowledge of the score?
Was this a well-paced rehearsal?
Did the conductor use any tricks or teaching/conducting strategies you thought were effective?
Did the ensemble improve?
Was the music appropriate for the ensemble?
Leadership and Professionalism
Good and appropriate eye contact
Confidence
Does the conductor provide an atmosphere that fosters musical creativity and supports growth
and expression?
Rapport with the ensemble
Summary
What did you learn from this observation?