Baroque Music Interpretation 2

Subject guarantor:

Ivana BAŽANTOVÁ

Name of lecturer(s):

Ivana BAŽANTOVÁ

Learning outcomes of the course unit:

The course aim is to acquire knowledge of individual parts and parameters that participate in the treatment of a period interpretation. A fundamental approach, bearing in the period, style, approach to the composed piece and its interpretation, component glimpse into period and contemporary literature (sources), handling basic concepts, their content, acquaintance with regional, style, among others, differences and differences regarding keyboard literature and music.

Mode of study:

Lectures, discussion, listenings, working with scores, assignment of detailled tasks as a preparation for performance.

Prerequisites and co-requisites:

Test - subject answers, terminology, proposals (articulation, rhythmic changes).

Recommended optional programme components:

No elective requirements.

Course contents:

Brief course outline:

2) (continued) Tempo and its categries, measure markings and their significance. Rhythm notation. Timing. Tempo ordinario and tempo giusto, tempo rubato. Dance and its characteristics. Meterless preludes.

3) The French jeu inégal, dotted rhythms. rhythmic and expressive accents. usual changes in rhythm. unusual occurances.

4) Articulation and phrasing (significance of the arch and other markings. usual treatments, etc.)

5) Fingerings

6) Written and unwritten dynamics. Working with them.

7) Italian diminution - comparison of period sources. Basics of ornamentation.

Course syllabus:

The development and commonplace period practices and main conditions of their adoption, in the Baroque did not require detailed notation of interpretation instructions, which gradually grew stronger up to change in social and aesthetic order around the middle of the 18th century and grew to the subjective individualization of occurances in the Romance, but partially, also in the so called Empfindsamkeit period. Therefore, more difficult rhytmic and sometimes metrical aspects but also articulation and phrasing and accent, etc. in Baroque music needed a much broader view and understanding of Baroque music expression than many styles of later periods. Issues of articulation in particular in keyboard music is linked to fingering. The also relies on the requirements of the period. A knowledge of the perod „language and expression“ are decisive.

Requirements by the changes in rhythm notation is traced from the end of the 16th century in Spanish, Italian (Caccini) and, in particular, French sources (jeu inégal). Potential various handlings of dotted rhythms or notation and small values is dependent on the beat, expression or articulation instructions or needn't be written at all and are from another perspective (genre, style, etc.) commonplace.

The covered chapter on ornamentation requires a sense of expression and sense of component composition components so their execution is not contrary to the sense of the music. As well, freedom in the area of Willkuerliche Manieren requires imagination and a specific technical competence. To understand the sources of this virtuoso ornamentation, one needs to know the principles of Italian diminution (instrumental and vocal). For Wesentliche Manieren ornamentation a particular type of marking, which is changeable according to period or region needs to be known. The set of markings and potential has it general nature and distinctive types, the knowledge of which enables a better orientation in those issues. The high and late Baroque is an linkage of all possible influences and types of ornaments. This chapter continues in later semesters of IB3.

Recommended or required reading:

Czech and Slovak:

BACH, Carl Philippe Emanuel, Úvaha o správném způsobu hry na klavír, Paido Brno 2002

BUKOFZER, Manfred, Hudba v období baroka, Opus Bratislava 1986

DOLMETSCH, Arnold, Interpretace hudby 17. a 18. století, SNKLHU, Praha 1958

KAZÁROVÁ, Helena, Barokní taneční formy, AMU 2005

MOZART, Leopold, Leopolda Mozarta, velkoknížecího salcburského vicekapelníka důkladná škola na housle, Praha 2000

QUANTZ, Johann Joachim, Pokus o návod jak hrát na příčnou flétnu, Supraphon, Praha 1990

RUMLOVÁ, Gabriela, Historické tance XV. - XVII. století, skriptum AMU, SPN 1981

RŮŽIČKOVÁ, Zuzana, Interpretační praxe ?, skriptum AMU, SPN

Slovenská hudba. Revue pre hudobnú kultúru. Antologia renesancia a barok, roč.XX, rok 1994, číslo 3-4

Foreign language:

MGG and Grove music encyclopedias - terminology by world expers in music theory and history

The Companion to Baroque Music, Ed. J. A. Sadie, Oxford University Press 1998

AHLGRIMM, Isolde, Manuale der Orgel- und Cembalotechnik, L. Doblinger 1982 Wien

DONINGTON, Robert, Interpretation of Early Music, Faber - Faber, London 1963, New Version London 1989

Style and Performance. A Handbook, Faber Music 1982

FERGUSON, Howard, Keyboard Interpretation from the 14th to the 19th Century, Oxford University Press, London 1975, 1987

FROTSCHER, Gothold, Aufführungspraxis alter Musik Heinrichshofen, Wilhelmshaven 1971 (a další)

HAAS, Robert, Aufführungspraxis der Musik, 2. vyd. Paperback, Laaber, Regensburg 1979

HARICH-SCHNEIDER, Eta, Die Kunst des Cembalo Spiels, Bärenreiter

LAUKVIK, Jon, Orgelschule zur historischen Aufführungspraxis, Bärenreiter 1990

LINDE, Hans-Martin, Kleine Anleitung zum Verzieren alter Musik, Schott, Mainz 1978

LOHMANN, Ludger, Studien zu Artikulationsproblemen bei den Tasteninstrumenten des 16. - 18. Jahrhunderts, Gustav Bosse Verlag, Regensburg 1982

MATTHESON, Johann, Der vollkomenne Capelmeister, 1739, Faksimile (2. vyd.) Bärenreiter, Kassel, 1969

Grosse-Generalbass-Schule oder: Der exemplarischen Organisten-Probe II/1731, Georg Olms Verlag, Hildesheim 1994

MERTIN, Josef, Alte Musik - Wege zur Aufführungspraxis,Lafite, Wien 1978

MIEHLING, Klaus, Das Tempo in der Musik von Barock und Vorklassik, Florian Noetzel Verlag, Wilhelmshaven 1993

NEUMANN, Friderik, Ornamentation in Baroque and Post-Baroque Music, Princeton 1978

REIDEMEISTER, Peter, Historische Aufführungspraxis. Eine Einführung, Wissenschaftliche Buchgesellschaft, Darmstadt 1988

SCHMITZ, Hans-Peter, Die Kunst der Verziehrung im 18. Jahrhundert, 4. vydání, Bärenreiter, Kassel 1983

SCHOTT, Howard, Cembalo spielen, Artemis Verlag, München/Zürich 1983, anglický original Faber-Faber, London 1971

TAUBERT, Karl Heinz, Höfosche Tänze: ihre Geschichte und Choreographie (s notovou přílohou pro klávesové nástroje), Schottt, Mainz, roč. neuveden

VEILHAN, Jean-Claude, Die Musik des Barock und ihre Regeln für alle Instrumente nach Bach, Brossard, Couperin, Hotteterre, Monteclair, Quantz, Rameau, d´Allembert, Rousseau u.a., Alphonse Leduc, Paris 1982

Planned learning activities and teaching methods:

Lecture including exercises

Assessment methods and criteria:

LS - short written test over some basic concepts from the material covered and an oral discussion over the presented notation sample.

Course web page:

Note:

none

Schedule for winter semester 2012/2013:

The schedule has not yet been prepared

Schedule for summer semester 2012/2013:

The schedule has not yet been prepared

The subject is a part of the following study plans:

• Obor Varhany (Bc) (next compulsory subject)
• Obor Cembalo (Bc) (next compulsory subject)