Would you like to specialize in the field of Music and Performing Arts? Then this Master's Degree and its 1,500 hours of theoretical and practical content are perfect for you. Are you going to let this amazing opportunity pass by?" 

Although there is no reliable data to confirm the origin of music and dance, numerous investigations have placed it in prehistoric times, when people danced and sang around the fire until exhaustion for spiritual and religious purposes. Throughout history, these two artistic expressions have evolved each on their own, as well as together, giving rise to theater, musicals, different genres and the many manifestations that make up the cultural spectacle that exists today. Vivaldi, Beethoven, Mozart and the thousands of unknown composers who preceded them were responsible for laying the foundations thanks to which Tom Hooper and Julie Taymor were able to develop Cats and The Lion King, respectively. 

And so that graduates interested in this field can follow in their footsteps and contribute to cultural development, TECH and its team of experts have designed this Master's Degree in Music and Performing Arts. It is a multidisciplinary and 100% online program thanks to which the graduate will travel through centuries of history, soaking up the characteristics of each genre and the most representative authors and composers of each era. In addition, they will be able to work intensively on perfecting their skills related to singing, rhythmic practice and musical aesthetics, focusing on the organization of events and the direction of musicals, plays and operas. In this way, you will raise your cultural knowledge in this field to the highest level, being able to apply it both in the educational and research sectors and, of course, in stage performances. 

All this, 100% online and over twelve months, during which you will have 1,500 hours of the best theoretical and practical content, and, in addition, this content will be presented in different formats: detailed videos, research articles, complementary readings, self-knowledge exercises, case studies, news, dynamic summaries and much more! In this way, the student will be able to contextualize the information in the syllabus and delve in a personalized way into its different sections. In addition, you will not have to follow a strict timetable, but will be able to design your own, allowing you to adapt the academic experience not only to your requirements, but also to your absolute availability.

A 100% online program with which you will acquire the broadest and most comprehensive knowledge about the initiation to choral singing"

This Master's Degree in Music and Performing Arts contains the most complete and up-to-date program on the market. The most important features include:

• Case studies presented by experts in Music and Performing Arts
• The graphic, schematic and practical contents of the book provide technical and practical information on those disciplines that are essential for professional practice
• Practical exercises where the self-assessment process can be carried out to improve learning
• Its special emphasis on innovative methodologies
• Theoretical lessons, questions to the expert, debate forums on controversial topics, and individual reflection assignments
• Content that is accessible from any fixed or portable device with an Internet connection

You will have twelve months to complete all the content included in the program. For this you will have unlimited access to the virtual campus from any device with an Internet connection" 

The program’s teaching staff includes professionals from the sector who contribute their work experience to this educational program, as well as renowned specialists from leading societies and prestigious universities. 

Its multimedia content, developed with the latest educational technology, will allow professionals to learn in a contextual and situated learning environment, i.e., a simulated environment that will provide immersive education programmed to prepare in real situations. 

The design of this program focuses on Problem-Based Learning, by means of which professionals must try to solve the different professional practice situations that are presented to them throughout the academic year. For this purpose students will be assisted by an innovative interactive video system developed by renowned experts. 

A perfect qualification to take you through the evolution of the choral repertoire from the Middle Ages to the present day"

Are you looking for a program with which to implement the most sophisticated and effective techniques for diaphragmatic breathing into your musical practice? This Master's Degree includes it!"

The syllabus of this Master's Degree has been designed by a team of experts in Music and Performing Arts. Thanks to this, it has been possible to complete 1,500 hours of theoretical, practical and additional content, based on the most exhaustive, complete and necessary information to acquire the most specialized knowledge in this field. In addition, in its struggle to offer dynamic and innovative educational programs, this program has diverse audiovisual material, thanks to which the graduate will be able to contextualize each section of the syllabus and delve in a personalized way in those considered most relevant for their professional development and performance. All this is presented in a convenient and accessible 100% online format with which you can access the program from wherever you want and with a schedule fully adapted to your availability. 

The use of the innovative Relearning methodology in the development of this program will allow you to acquire the most specialized knowledge without having to invest extra hours in memorizing"

Module 1. Initiation to Choral Singing

1.1. Choral Education

1.1.1. Introduction to the Choral World
1.1.2. First Choral Formations
1.1.3. The Unison Choral Formation
1.1.4. Polyphonic Choral Formation

1.2. Evolution of the Choral Repertoire

1.2.1. Choral Music in the Middle Ages
1.2.2. Choral Music in the Renaissance
1.2.3. Choral Music in the Baroque
1.2.4. Choral Music in the Classicism
1.2.5. Choral Music in the Romanticism
1.2.6. Choral Music in the 20th Century

1.3. Diaphragmatic Breathing

1.3.1. Basic Concepts and Parts of the Phonatory Apparatus
1.3.2. The Diaphragm, What is It?
1.3.3. Usefulness of Diaphragmatic Breathing
1.3.4. Practical Exercises for Muscle Memory

1.4. Body Posture

1.4.1. The Correct Body Posture for Singing

1.4.1.1. The Head
1.4.1.2. The Neck
1.4.1.3. The Spine
1.4.1.4. Pelvis
1.4.1.5. Standing
1.4.1.6. Sitting

1.5. Vocalization

1.5.1. What is Vocalization and What is it Used for?
1.5.2. When to Vocalize?
1.5.3. Exercises to Exercise the Voice
1.5.4. Diction in Singing

1.6. Music Reading. Practical Part

1.6.1. Research Work on the Piece to be Performed
1.6.2. Reading Notes Accompanied by the Text
1.6.3. Reading Text with Rhythm
1.6.4. Music Reading Separated by Voices
1.6.5. Musical Reading with all Voices Joined together

1.7. Classification of the Voices

1.7.1. The Vocal Tessitura
1.7.2. Classification of the Female Voices
1.7.3. Classification of the Male Voices
1.7.4. The Figure of the Countertenor

1.8. Canon

1.8.1. What is a Canon?
1.8.2. The Canon and its Beginnings
1.8.3. Types of Canon
1.8.4. Musical Offering BWV by J.S. Bach
1.8.5. Practical Part of the Canon

1.9. Basic Gestures in Conducting

1.9.1. Recognition of the Main Gestures
1.9.2. Key Moments to look at the Director
1.9.3. The Importance of the "Attack"
1.9.4. The Silences

1.10. Musical Genres, Styles, Forms and Textures

1.10.1. Introduction to the Term Musical Genre
1.10.2. Introduction to the Term Music Style
1.10.3. Introduction to the Term Musical Form
1.10.4. Introduction to the Term Musical Texture

Module 2. Design of the Events

2.1. Project Management

2.1.1. Gathering Information, Project Start-Up: What Do We Need To Know?
2.1.2. Study of Possible Locations
2.1.3. Pros and Cons of the Chosen Options

2.2. Research Techniques. Desing Thinking

2.2.1. Stakeholder Maps
2.2.2. Focus Group
2.2.3. Bench Marking

2.3. Experiential Design Thinking

2.3.1. Cognitive Immersion
2.3.2. Covert Observation
2.3.3. World Cafe

2.4. Defining Target Audience

2.4.1. Who the Event is Aimed at
2.4.2. Why Do We Do The Event
2.4.3. What is the Purpose of the Event

2.5. Trends

2.5.1. New Trends in Staging
2.5.2. Digital Contributions
2.5.3. Immersive and Experiential Events

2.6. Personalization and Design Space

2.6.1. Adaptation of the Space to the Brand
2.6.2. Branding
2.6.3. Brand Manual

2.7. Marketing Expertise

2.7.1. Living the Experience
2.7.2. Immersive Event
2.7.3. Fostering Memory

2.8. Signage

2.8.1. Signage Techniques
2.8.2. The Attendant's Vision
2.8.3. Coherence of the Story. Event with Signage

2.9. The Event Venues

2.9.1. Studies of Possible Venues. The Five Why's
2.9.2. Choice of the Venue According to the Event
2.9.3. Selection Criteria

2.10. Proposed Staging. Types of Scenarios

2.10.1. New Staging Proposals
2.10.2. Prioritization of Proximity to the Speaker
2.10.3. Scenarios Related to Interaction

Module 3. Film Music

3.1. Audiovisual Communication, Basic Concepts

3.1.1. What is Audiovisual Communication?
3.1.2. Types of Audiovisual Communication
3.1.3. Audiovisual Communication and Social Influence
3.1.4. Elements of Communication

3.2. The History of Film Music

3.2.1. The First Soundtracks
3.2.2. Classical Symphonism
3.2.3. The Main Theme
3.2.4. The New Symphonism

3.3. Types of Audiovisual Music

3.3.1. Diegetic Music
3.3.2. Incidental Music
3.3.3. Pre-Existing Music
3.3.4. Extradiegetic Music

3.4. The Sound in the Cinema

3.4.1. Démeny and Talking Photography
3.4.2. Charles, Phonography and Cinematography
3.4.3. Léon Gaumont and the Sound System of Films
3.4.4. Jo Engel, Hans Vogt and Joseph Massole, Der Branstifer
3.4.5. The Phonofilm: the Synchronization of the Sound in the Films
3.4.6. Vitaphone, the Synchronization between Disc and Image

3.5. Classical Cinema

3.5.1. Beginnings of Classical Cinema
3.5.2. Characteristics of Classic Hollywood Cinema
3.5.3. Themes and Characters
3.5.4. The role of music in Classical Cinema

3.6. The Most Relevant Composers of Soundtracks in History

3.6.1. Camille Saint - Saëns and Mihail Ippolitov
3.6.2. Louis Silvers, Considered the First Composer for the Cinema
3.6.3. Joseph Carl Breil
3.6.4. Max Steiner and King Kong
3.6.5. Bernard Herrmann
3.6.6. Most Outstanding Composers of the Last 30 Years

3.6.6.1. Hans Zimmer
3.6.6.2. Danny Elfman
3.6.6.3. Ennio Morricone
3.6.6.4. John Williams

3.7. The Technical Evolution of the Cinema

3.7.1. August and Louis Lumière, Inventors of the Cinematograph,1895
3.7.2. Georges Méliès and the Overprinting of Images
3.7.3. The Color: Daniel Comstock and Burton Wescott,1916
3.7.4. Sound and Television
3.7.5. Animation and Walt Disney
3.7.6. The Pixar Era

3.8. Types of Listening

3.8.1. Causal Listening
3.8.2. Gestural Listening
3.8.3. Reduced Listening
3.8.4. Semantic Listening
3.8.5. Verbal Listening
3.8.6. Spatial Listening
3.8.7. Procedural Listening
3.8.8. Empathic Listening
3.8.9. Taxonomic Listening
3.8.10. Figurative Listening
3.7.11. Inattentive Listening

3.9. Acousmatics

3.9.1. What is Acousmatics?
3.9.2. Origins The Pythagorean School
3.9.3. Style of Acousmatics
3.9.4. Acousmatics in the Cinema

3.10. The Out-of-Field Sound

3.10.1. What are Out-of-Field Sounds?
3.10.2. Encompassed
3.10.3. Narrative Out-of-Field
3.10.4. Michel Chion: Active and Passive Out-of-Field

Module 4. Performing Arts

4.1. The Performing Arts

4.1.1. What are the Performing Arts?
4.1.2. What are the Different Forms of Performing Arts?
4.1.3. Introduction to the Performing Arts
4.1.4. Function of the Performing Arts

4.2. Body and Verbal Language

4.2.1. Introduction
4.2.2. The Body and Gesture
4.2.3. The Body and Space
4.2.4. Facial Expression

4.3. Beginning and Evolution of the Performing Arts

4.3.1. Prehistory
4.3.2. Ancient Greece
4.3.3. The Theater of Athens
4.3.4. Theaters on Rocky Slopes
4.3.5. The Roman Empire and the Christian Sacred Theater

4.4. The Renaissance and the Baroque in the Performing Arts

4.4.1. The Renaissance theater: the Tragedy, the Drama and the Comedy
4.4.2. 16th and17th centuries: Three Scenic Modalities in Europe

4.4.2.1. Popular Theater
4.4.2.2. Religious Spectacles
4.4.2.3. Court Shows

4.4.3. Italy: the Opera and the Musical Theater. The Commedia dell'Arte
4.4.4. England: Elizabethan Theater. Shakespeare
4.4.5. France: French Classical Theater. P. Corneille, Molière and Racine
4.4.6. Spain: the Spanish Theater. Lope de Vega and Calderón de la Barca

4.5. Scenic Arts in the Century of the Enlightenment

4.5.1. Main Characteristics of the Scene of the18th Century

4.5.1.1. Neoclassicism

4.5.2. 18th Century Neoclassicism
4.5.3. The Sentimental Drama
4.5.4. The Evolution of the Scenic Arts

4.5.4.1. Themes Updated to the Problems of the People

4.6. The Performing Arts in the19th Century

4.6.1. Main Characteristics of the Century in the Arts
4.6.2. Construction of the Festspielhaus Theater in Bayreuth, end of the19th Century, Germany
4.6.3. The Realism and Naturalism of the Second Half of the Century
4.6.4. Bourgeois Comedy
4.6.5. Henrik Ibsen (1828-1906)
4.6.6. Henrik Ibsen. Oscar Wilde

4.7. The Influence of the Performing Arts in the Painting of the 20th Century

4.7.1. Expressionism in Painting
4.7.2. Kandinsky and the Performing Arts
4.7.3. Picasso and the Avant-Garde
4.7.4. The Metaphysical Painting

4.8. 20th Century

4.8.1. The Performing Arts at the Beginning of the Century
4.8.2. Rupture with Naturalism and Realism

4.8.2.1. The Beginning of the Expressionism and Vanguardism

4.8.3. The Existentialism of the Second Half of the Century

4.8.3.1. Jean-Paul Sartre

4.8.4. The Theater of the Absurd

4.8.4.1. Eugène Ionesco

4.8.5. The Experimental Theater and the Happening

4.9. The Spectator and the Reception of the Scenic Spectacle

4.9.1. What is the Reception of the Spectacle?
4.9.2. The Spectator in Front of the Moving Image
4.9.3. The Self-Aware Spectator
4.9.4. The Interaction of the Spectator
4.9.5. The Actual Viewer

4.10. The Music in the Scene

4.10.1. What is Music in the Performing Arts?
4.10.2. How can Performing Music be?
4.10.3. Classification of the Meanings of Music
4.10.4. Space and Movement
4.10.5. Objects and Events in a Place
4.10.6. Character, Mood and Emotions

Module 5. Choirs

5.1. The Human Voice. Phonatory Apparatus. The Diaphragm

5.1.1. The Human Voice.
5.1.2. Intensity and Frequencies of the Voice
5.1.3. The Resonator Apparatus

5.1.3.1. The Resonators

5.1.4. The Diaphragm

5.2. Body Preparation for Singing

5.2.1. Inhalation and Exhalation
5.2.2. Diaphragmatic Support
5.2.3. Positioning and Rectification of Bad Postural Habits
5.3.4. Facial Muscle Release
5.3.5. Stretching

5.3. Correct Body Posture

5.3.1. The Head
5.3.2. The Neck
5.3.3. The Spine
5.3.4. Pelvis
5.3.5. Standing
5.3.6. Sitting

5.4. Vocalization

5.4.1. Breathing
5.4.2. Vocalizations Combining Nasal Consonants with Open Vowels
5.4.3. Vocalizations Combining Nasal Consonants with Closed Vowels
5.4.4. Tessitura Vowels (All the Extension of Each Voice)

5.5. Music Reading

5.5.1. Reading Notes without Intonation
5.5.2. Reading Music with Intonation and without Text
5.5.3. Reading Text
5.5.4. Musical Reading of the Whole

5.6. A Cappella Choral Singing

5.6.1. What is a Cappella Singing?
5.6.2. Introduction to a Cappella Choral Singing and Main Repertoire
5.6.3. Practical Part: a Cappella Singing for Separate Voices
5.6.4. Practical Part: a Cappella Singing by all Voices Together

5.7. Initiation to Gregorian Chant

5.7.1. What is Gregorian Chant?
5.7.2. Beginnings and Evolution of Gregorian Chant
5.7.3. Knowledge of Main Works

5.7.3.1.Introit (Mode VII) Puer Natus Est Nobis. Introit (Mode VII)
5.7.3.2. Genuit Puerpera Regem. Antiphon and Psalm 99 (Mode II)
5.7.3.3. Veni Creator Spiritus. Hymn (Mode VIII)

5.7.4. Practical Part: Interpretation of a Gregorian Piece

5.8. The Operatic Choir

5.8.1. What is the Operatic Choir?
5.8.2. First Operas with a Choral Part
5.8.3. The Importance of the Chorus in Opera
5.8.4. Choral Parts of the Most Transcendental Operas

5.8.4.1. Va Pensiero. Nabucco. G. Verdi
5.8.4.2. Perchè tarda la luna. Turandot. G. Puccini

5.9. Interpretation of the Gestures of Choral Conducting

5.9.1. Marking of Tempo
5.9.2. The Attack
5.9.3. The Anacoustic Gestures
5.9.4. The Silences

5.10. Voice Care

5.10.1. What Possible Injuries can we Prevent if we Take Care of the Voice?
5.10.2. Hygiene for the Correct Emission of the Voice
5.10.3. Physical Care for the Voice
5.10.4. Exercises to settle Diaphragmatic Breathing

Module 6. Vocal-Orchestral Repertoire

6.1. Classification of Voices

6.1.1. Introduction to Voice Types
6.1.2. Soprano
6.1.3. Mezzo Soprano
6.1.4. Contralto
6.1.5. Countertenor
6.1.6. Tenor
6.1.7. Baritone
6.1.8. Bass

6.2. Opera

6.2.1. The Beginnings of Opera
6.2.2. The Italian Opera

6.2.2.1. Baroque
6.2.2.2. Reforms of Gluck and Mozart
6.2.2.3. Bel Canto

6.2.3. German Opera
6.2.4. Composers and Opera to Highlight

6.3. Structure of the Opera

6.3.1. Acts and Scenes
6.3.2. The Recitative
6.3.3. Duets, Tercets
6.3.4. Choral Part

6.4. The Operetta

6.4.1. What is the Operetta?
6.4.2. The French Operetta
6.4.3. The Viennese Operetta
6.4.4. Influence of the Operetta in the Beginnings of the Musical

6.5. The Opera Bufa

6.5.1. What is the Opera Bufa?
6.5.2. Beginnings of the Opera Bufa
6.5.3. The Cilla. Michelangelo Faggioli
6.5.4. Most Important Bufa Operas

6.6. The French Comic Opera

6.6.1. What is the French Comic Opera?
6.6.2. When did French Comic Opera Emerge?
6.6.3. Evolution of the French Comic Opera at the end of the18th Century
6.6.4. Main Composers of French Comic Opera

6.7. The English Ballad Opera and the German Singspiel

6.7.1. Introduction to the Ballad Opera
6.7.2. Introduction to the Singspiel
6.7.3. Origins of the Singspiel
6.7.4. The Singspiel in the Rococo Period
6.7.5. Main Singspiel and its Composers

6.8. La Zarzuela 

6.8.1. What is La Zarzuela?
6.8.2. Beginnings of La Zarzuela
6.8.3. Main Zarzuelas
6.8.4. Main Composers

6.9. The Mass 

6.9.1. Description of the Mass Genre
6.9.2. Parts of the Mass
6.9.3. The Requiem
6.9.4. Most Outstanding Requiems

 6.9.4.1. Mozart's Requiem

6.10. The Symphony and the Chorus

6.10.1. The Choral Symphony
6.10.2. Birth and Evolution
6.10.3. Main Symphonies and Composers
6.10.4. Unaccompanied Choral Symphonies

Module 7. Musical Aesthetics

7.1. Musical Aesthetics

7.1.1. What is Musical Aesthetics?
7.1.2. The Hedonistic Aesthetics
7.1.3. The Spiritualist Aesthetics
7.1.4. Intellectualist Aesthetics

7.2. Musical Thought in the Ancient World

7.2.1. The Mathematical Concept of Music
7.2.2. From Homer to the Pythagoreans
7.2.3. The "Nomoi".
7.2.4. Plato, Aristotle. Aristoxenus and the Peripatetic School

7.3. Transition between the Ancient and Medieval World

7.3.1. First Centuries of the Medieval Period
7.3.2. Creation of the Liturgical Tropes, Sequences and Dramas
7.3.3. The Troubadours and the Minstrels
7.3.4. The Cantigas

7.4. The Middle Ages

7.4.1. From the Abstract to the Concrete;Musica Enchiriadis
7.4.2. Guido D'Arezzo and the Musical Pedagogy
7.4.3. The Birth of Polyphony and the New Problems of Musical Theory
7.4.4. Marchetto di Padua and Franco of Cologne
7.4.5. Ars Antiqua and Ars Nova: Critical Awareness

7.5. The Renaissance and the New Rationality

7.5.1. Johannes Tinctoris and the "Effects " of the Music
7.5.2. Early Humanist Theorists: Glareanus. Zarlino and the New Concept of Harmony
7.5.3. The Birth of Melodrama
7.5.4. The Camerata of the Bardi

7.6. Reformation and Counter-Reformation: Word and Music

7.6.1. The Protestant Reformation. Martin Luther
7.6.2. The Counter-Reformation
7.6.3. The Understanding of the Texts and the Harmony
7.6.4. The New Pythagoreanism. Leibniz: Reconciliation between the Senses and Reason

7.7. From Baroque Rationalism to the Aesthetics of Feeling

7.7.1. The Theory of the Affections, Harmony and Melodrama
7.7.2. Nature Imitation
7.7.3. Descartes and Innate Ideas
7.7.4. British Empiricism as Opposed to Descartes

7.8. The Enlightenment and the Encyclopedists

7.8.1. Rameau: The Union of the Art with the Reason
7.8.2. E. Kant and the Music
7.8.3. Vocal and Instrumental Music. Bach and the freshness
7.8.4. Illuminism and the Sonata-Form

7.9. Romanticism

7.9.1. Wackenroder: Music as a Privileged Language
7.9.2. Schelling, Hegel, Schopenhauer
7.9.3. The Romantic Musician in Front of the Music
7.9.4. The Programmatic Music
7.9.5. Wagner
7.9.6. Nietzsche and the Crisis of the Romantic Reason

7.10. The Positivism and the Crisis of the Aesthetics of the 20th Century

7.10.1. Hanslick and Formalism
7.10.2. Positivism and the Birth of Musicology
7.10.3. Italian Neoidealism and Musical Aesthetics
7.10.4. The Sociology of Music

Module 8. Rhythmic Practice and Dance

8.1. Fundamentals of Rhythmic Education

8.1.1. Rhythmic Education
8.1.2. Jaques Dalcroze
8.1.3. The Dalcroze Method, What is It?
8.1.4. Characteristics of the Dalcroze Method

8.2. The Musical Rhythm

8.2.1. Principles and Elements of Musical Rhythm
8.2.2. Relationship with the Qualitative Elements of Movement
8.2.3. Free Rhythm and Rhythmic: the Word and the Rhythm
8.2.4. Compass and its Elements: Pulse, Accentuation and Subdivision of the Time
8.2.5. Elementary Rhythmic Patterns

8.3. Dance and Music

8.3.1. What is Dance?
8.3.2. Elements of Dance
8.3.3. History of Dance and Music
8.3.4. The Importance of Music in Dance

8.4. Types of Dance

8.4.1. Academic Dance
8.4.2. Classical Dance
8.4.3. The Modern Dance
8.4.4. The Contemporary Dance
8.4.5. The Traditional Dance
8.4.6. Folkloric Dance
8.4.7. Regional Dance
8.4.8. Popular Dance

8.5. Main Repertory of the Types of Dances

8.5.1. Repertoire in Academic Dance
8.5.2. Classical Dance Repertoire
8.5.3. Modern Dance Repertoire
8.5.4. Repertoire in Contemporary Dance
8.5.5. Repertoire in Traditional Dance
8.5.6. Folkloric Dance Repertoire
8.5.7. Regional Dance Repertoire
8.5.8. Popular Dance Repertoire

8.6. The Contemporary Dance

8.6.1. Contemporary Dance and its Beginnings
8.6.2. The American School
8.6.3. The European School
8.6.4. Second and Third Generation

8.7. The Graham Dance Technique

8.7.1. Who was Martha Graham?
8.7.2. What is the Graham Technique?
8.7.3. Basic Principles of the Graham Technique

 8.7.3.1. Contraction and Release

8.7.4. Spirals, Lift and Force Encountered

8.8. The Cunningham Dance Technique

8.8.1. Merce Cunningham
8.8.2. What is the Cunningham Technique?
8.8.3. Cunningham's Key Ideas
8.8.4. Cunningham's Most Outstanding Choreographies

8.9. Lemon Technique

8.9.1. José Limón
8.9.2. Definition of the Limón Technique
8.9.3. Method
8.9.4. Main Choreographies of Limón

8.10. Dance as a Psychotherapeutic Method

8.10.1. Dance Therapy
8.10.2. History of Dance Therapy
8.10.3. Pioneers of Dance Therapy
8.10.4. Methods of Dance Therapy

Module 9. The Musical

9.1. The Musical

9.1.1. What is the Musical?
9.1.2. Characteristics of the Musical
9.1.3. History of the Musical
9.1.4. Main Musicals

9.2. Most Outstanding Composers of Musicals

9.2.1. Leonard Bernstein
9.2.2. John Kander
9.2.3. Stephen Lawrence Schwartz
9.2.4. Andrew Lloyd Webber

9.3. Interpretation Techniques Applied to Musicals

9.3.1. The Stanislavsky Method
9.3.2. Chekhov's Technique
9.3.3. The Meisner Technique
9.3.4. Lee Strasberg and his Method

9.4. Singing Techniques

9.4.1. Theoretical and Practical Learning of Singing Technique and Vocal Education Adapted to Musical Theater
9.4.2. Study of the Anatomy of the Larynx and the Functioning of the Respiratory and Phonatory Apparatuses
9.4.3. Recognition of the Diaphragm
9.4.4. Correct Diction

9.5. Contemporary Dance. Hip-Hop

9.5.1. Contemporary Dance Style
9.5.2. Main Movements in Hip - Hop
9.5.3. Basic Steps in Hip Hop
9.5.4. Introduction to the Creation of Choreographies

9.6. Music

9.6.1. Music Theory
9.6.2. Reading Sheet Music
9.6.3. Rhythm
9.6.4. Aural Education

9.7. Milestones of the Musical

9.7.1. Study of the Path of the Musical Genre from the European and North American Precedents
9.7.2. Consolidation and Splendor of the Musical Theater in the United States
9.7.3. The Present Time of the Genre and its Incidence in the Billboard
9.7.4. The Digital Age of the Musical

9.8. Delving into the Interpretation

9.8.1. Theatrical Construction of a Character
9.8.2. Vocal Construction of a Character
9.8.3. Choreographic Construction of a Character
9.8.4. Fusion of All the Previous Ones: Definitive Creation of the Character

9.9. The Musicals in the Cinema

9.9.1. The Phantom of the Opera
9.9.2. Les Miserables
9.9.3. Jesus Christ Superstar
9.9.4. West Side Story

9.10. Main Singers of Musicals

9.10.1. Sarah Brightman
9.10.2. Philip Quast
9.10.3. Michael Ball
9.10.4. Sierra Bogges

Module 10. Singin

10.1. Breathing

10.1.1. The Diaphragm
10.1.2. History of Diaphragmatic Breathing
10.1.3. Practical Breathing Exercises
10.1.4. Breathing Signs and Their Importance

10.2. Preparation for Singing

10.2.1. Neck Stretching
10.2.2. Stretching of the Arms
10.2.3. Maxillary Massage
10.2.4. Vocalization

10.3. The Phonatory Apparatus

10.3.1. What is the Phonatory Apparatus?
10.3.2. Breathing Organs
10.3.3. Organs of Phonation
10.3.4. Organs of Articulation

10.4. The Falsetto

10.4.1. What is the Falsetto?
10.4.2. History of the Falsetto
10.4.3. The Head Voice
10.4.4. Examples of Falsetto Use

10.5. Jazz Vocal Repertoire

10.5.1. Characteristics of Jazz
10.5.2. Vocal Technique SCAT
10.5.3. The Glossolalia
10.5.4. Performance of a Piece to Be Chosen from a Stipulated List

10.6. Pop Vocal Repertoire

10.6.1. Origin of the Term Pop
10.6.2. Characteristics of Pop Music
10.6.3. Pop Technique
10.6.4. Performance of a Piece to Be Chosen from a Stipulated List

10.7. Opera Vocal Repertoire

10.7.1. Opera Characteristics
10.7.2. Opera Technique
10.7.3. The Impostation
10.7.4. Performance of a Piece to Be Chosen from a Stipulated List

10.8. Vocal Repertoire of Lied

10.8.1. Characteristics of the Lied
10.8.2. The Technique in the Lied
10.8.3. General Theme of the Lied
10.8.4. Performance of a Piece to Be Chosen from a Stipulated List

10.9. Vocal Repertoire of Zarzuela

10.9.1. Characteristics of Zarzuela
10.9.2. Technique in La Zarzuela
10.9.3. General Themes of La Zarzuela
10.9.4. Performance of a Piece to Be Chosen from a Stipulated List

10.10. Vocal Repertoire of the Musical

10.10.1. Characteristics of the Musical
10.10.2. Technique in the Musical
10.10.3. The Spoken Voice
10.10.4. Performance of a Piece to Be Chosen from a Stipulated List

Don't think twice and opt for a program that will increase your musical and artistic talent, as well as your cultural level, to the top of the sector"