Chamber Music 7
Subject is not scheduled Display Schedule
|198KH7||credit||4||2 exercise hours (45 min) of instruction per week, 82 to 102 hours of self-study||English, Czech||winter|
Name of lecturer(s)
Jan BARTOŠ, Václav BERNÁŠEK, Kvitoslava BILINSKÁ, Petra BLAŽKOVÁ ŽĎÁRSKÁ, Ana BRATELJEVIČ, Leoš ČEPICKÝ, Pavel ČERNÝ, Mikael ERICSSON, Ivo KAHÁNEK, Martin KASÍK, Ivan KLÁNSKÝ, Lukáš KLÁNSKÝ, Monika KNOBLOCHOVÁ, Pablo Alejandro KORNFELD, Štěpán KOUTNÍK, Boris KRAJNÝ, Pavel KUDELÁSEK, František MALÝ, Lubomír MALÝ, Bohuslav MATOUŠEK, Giedre MRÁZKOVÁ, Ozren MUTAK, Jiří NOVOTNÝ, Jiří PANOCHA, Jindřich PAZDERA, Martin PETRÁK, Miroslav PETRÁŠ, Štěpán RAK, Petr SAIDL, Tomáš STRAŠIL, Pavel SVOBODA, Ivan ŠTRAUS, Jana ŠVADLENKOVÁ, Jaroslav TŮMA, Karel UNTERMŰLLER, Helena WEISER, Milan ZELENKA, Radomír ŽALUD
Learning outcomes of the course unit
The student performs music at a high professional level (technically and interpretatively masterful expression), expresses his/her own artistic concepts at the level of a developed musical personality.
Develops, presents and implements artistic programs that are coherent and appropriate for different contexts.
Possesses the ability to listen, collaborate, express opinions constructively, and prioritises the common interest over the assertion of one's own opinion.
Has a high level of appropriate presentation and communication skills in all aspects of their practice and activities.
Mode of study
Prerequisites and co-requisites
In Chamber Music 7, students create chamber ensembles of various compositions or continue to play in ensembles created in the previous course of study with a preference for piano trio, string quartet, wind quintet or brass ensemble, but other combinations of instruments are also possible. The goal of the course is to produce chamber music of high artistic quality and expressive maturity. The focus is on developing a common musical, articulatory and rhythmic sense, intonation, harmony, intercommunication, a balanced ensemble sound, and creating a common musical concept of the piece.
Through the staging of selected repertoire the following skills are strengthened:
- Uniform artistic expression in the interpretation of the work
- Types of communication when playing in a chamber ensemble
- Structuring chamber ensemble rehearsals
- Principles of public presentation of artistic performance as a chamber musician
- Effective chamber ensemble rehearsal management strategies
Recommended or required reading
The students continue to get acquainted with other chamber works by Viennese classical composers (J. Haydn, W. A. Mozart, L. van Beethoven), Czech composers (B. Smetana, A. Dvořák, L. Janáček, B. Martinů), world-famous composers (J. Brahms, M. Ravel, D. Shostakovich, P. Hindemith, etc.), prominent representatives of the musical baroque (J. S. Bach, G. F. Händel, G. P. Telemann) and contemporary works, always depending on the individual composition of the ensemble and the availability of arrangements of compositions by these authors, e.g. for brass ensembles.
Individual creative initiative of the student is assumed in the choice of repertoire. Due to the variety of chamber ensembles assembled, the possibilities of choosing pieces to perform are considerable. Therefore, the following list is only an example of the literature possibilities for the main types of chamber ensembles:
SMETANA, Bedřich. Trio in G minor, Op.15
Bärenreiter, ISMN 9790260102910
DVOŘÁK, Antonín. String Quartet No. 12 in F major, Op. 96
Bärenreiter, ISMN 9790260103023
LIGETI, György. Sechs Bagatellen
For brass ensemble:
ARNOLD, Malcolm. Brass Quintet No. 2 op.132
Faber Music, Cat. No: 0571564038
Assessment methods and criteria
Credit examination is awarded on the basis of active participation in professional exercises, rehearsal and presentation of a chamber composition (duo with an instrument other than piano or multiple performers) and participation in a survey examination. Compulsory attendance - minimum 80%.
Schedule for winter semester 2022/2023:
The schedule has not yet been prepared
Schedule for summer semester 2022/2023:
The schedule has not yet been prepared
The subject is a part of the following study plans
- Piano (Mg) from 2022/23 (required subject)
- Harpsichord (Mg) from 2022/23 (required subject)
- Organ (Mg) from 2022/23 (required subject)
- Violin (Mg) - from 2022/23 (required subject)
- Viola (Mg) - from 2022/23 (required subject)
- Cello (Mg) - from 2022/23 (required subject)
- Double Bass (Mg) - from 2022/23 (required subject)
- Harp (Mg) - from 2022/23 (required subject)
- Guitar (Mg) - from 2022/23 (required subject)
- Bassoon (Mg) from 2022/23 (required subject)
- Flute (Mg) from 2022/23 (required subject)
- Oboe (Mg) from 2022/23 (required subject)
- Clarinet (Mg) from 2022/23 (required subject)
- French Horn (Mg) from 2022/23 (required subject)
- Trombone (Mg) from 2022/23 (required subject)
- Trumpet (Mg) from 2022/23 (required subject)
- Tuba (Mg) from 2022/23 (required subject)