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Syllabi
Penn State University Updated Sunday, August 31, 2008
Studio Reference Phone and E-mail Directory
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Monedero, Lesky
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Sxk464@psu.edu
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Koh, Ara
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617-869-9554
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Azk175@psu.edu
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Lee, Mi Jin
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814-876-2114
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Mul216@psu.edu
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Lai, Alan
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216-269-3980
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Lxl252@psu.edu
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Luo, Zinnia
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443-474-8920
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Zyl5016@psu.edu
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Madden,Chris
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814-207-9913
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Cam5191@psu.edu
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Orr, Chris
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484-707-4702
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Cco5031@psu.edu
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Carpenter, John
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610-324-8985
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Jcc5364@psu.edu
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Moon, Sle-Ki
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moonsgi@naver.com
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Technique Requirements at PSU
| Download the Technique Requirements in PDF format |
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Dr. Enrico Elisi's Classes at Penn State University
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Fall 2010
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Applied Lessons all levels
Download "On Practicing" in Microsoft DOC version.
Download "On Learning" in PDF format.
| Download the Applied Lessons syllabus (click on icon below). |
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Studio Performance Class and Repertoire
The studio repertoire class is a laboratory extension of the work in applied lessons. It provides an opportunity for discussion of literature, constructive critiques of student performances, presentations on topics common to all performers, and other pedagogical topics pursuant to mastering competencies in the discipline. The repertoire class augments the applied-lesson experience. and it must be considered an enhancement of applied study. The duration of the class will be between 50 to 60 minutes depending on the number of performing students. | Download the SPC syllabus (click on icon below). |
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Chamberiades Soirees
What are "Chamberiades Soirees? [Download File]. The word Chamberiades (plural of Chamberiade) is derived from the word Schubertiades – a word used to describe the well-known social gatherings whose primary purpose was the performance of the music of Schubert. During the Schubertiades both vocal andinstrumental music took place for pleasure. I would like to stress the fact that, in the beginning, chamber music was performed for pure pleasure. Why should this be any different today? Chamber music has been described as "the music of friends,"[1] because of its intimate nature. For a couple of centuries, it was played primarily by amateur musicians in their homes, and even today, when most chamber music performance has migrated from the home to the concert hall, there are still many musicians, amateur and professional, who continue to play
chamber music for their own pleasure. Playing together requires special skills, both musical and social, which are different from the skills required for playing solo. It is my hope that collaborations with other musicians will become a very important part of your active musical lives and that you will study and enjoy chamber music without ever forgetting the simple fact that you ought to derive pleasure from playing with others just as, I hope, you do when you play solo music. In the mind of a composer, music was never “sandwiched” into categories; composers cultivated all types of music (orchestral, ensemble, vocal, solo, etc.) not just a specific piece for your instrument. Solo music is just one aspect of your musicianship.
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