Obligatory Harpsichord 1
- Course unit code:
- 104OCE1
- Course unit title:
- Obligatory Harpsichord 1
- Mode of delivery:
- zápočet
- Range:
- 1/T
- Type of course unit:
- compulsory optional subject
- Level of course unit:
- Year of study
- předmět nemá určen ročník studia
- Semester when the course unit is delivered
- zimní
- Number of ECTS credits allocated:
- 1
- Garant předmětu:
- Giedre MRÁZKOVÁ
- Name of lecturer(s):
- Giedre MRÁZKOVÁ
- Study Objectives:
-
Mastery of basic Harpsichord technique and performance techniques typical for styles and forms from 1580 to 1760.
- Mode of delivery:
-
contact instruction
- Prerequisites and co-requisites:
-
Mastery of two to three compositions of various styles according to individual agreement.
- Recommended optional programme components
-
none
- Course contents:
-
Brief curriculum: Basic fingerstrokes and hand and arm management. Articulation potential and results. Register. Fingering and working with harpsichord sound. Largely in relation to literature performance.
Course syllabus: The harpsichord and organ have been in their principle and function in history partially linked or closely related. An organ player cannot today avoid not knowing how to play a solo on the harpsichord or accompany a singer or instrumentalist.
In principle the harpsichord creates tones works with sound differently. Also the literature for harpsichord has some specifics. Performance on the harpsichord by nature uses a bit different selection of performance tools particularly in working with time and in a more relaxed technical style (various use of arpeggio, ornamenation, fingerstroke, etc.). An organist should go through the basic performance styles to which belong:
- Virginal literature of England at the turn of the 16th to 17th centuries.
- Italian or Norther German polyphony of the 17th or 18th centuries
- French harpsichord music (Prelud non mesure, suites) 17th and 18th centuries.
- The Italian Tocatta of the 17th century
- Virtuoso sonatas (D. Scarlatti)
- Czech Pre-Classic music
The selection and compostion of selected literature is determined by the intentions and interest of the performer.
- Study materials:
-
Literature:
AHLGRIMM, Isolde, Manuale der Orgel- und Cembalotechnik, L. Doblinger 1982 Wien
BACH, Carl Philippe Emanuel, Úvaha o správném způsobu hry na klavír, Paido Brno 2002 HARICH-SCHNEIDER, Eta, Die Kunst des Cembalo Spiels, Bärenreiter
RŮŽIČKOVÁ, Zuzana, Interpretační praxe ?, skriptum AMU, SPN
SCHOTT, Howard, Cembalo spielen, Artemis Verlag, München/Zürich 1983, anglický original Faber-Faber, London 1971
Slovenská hudba. Revue pre hudobnú kultúru. Antologia renesancia a barok, roč.XX, rok 1994, číslo 3-4
A broad selection of general performance chapters from the literature in the course „Baroque Music Performance I-IV“.
- Planned learning activities and teaching methods
-
exercises
- Assessment methods and criteria
-
individual instruction
- Language of instruction:
- Czech
- Work placement(s):
-
No internship established for this course.
- Course web page:
- Note:
-
none
- Further information:
- Course may be repeated
- Schedule for winter semester 2011/2012:
- The schedule has not yet been prepared
- Schedule for summer semester 2011/2012:
- The schedule has not yet been prepared
- The subject is a part of the following study plans:
-
- Obor Varhany (Bc) (optional subject)