Baroque Music Interpretation 3

Subject guarantor:

Ivana BAŽANTOVÁ

Name of lecturer(s):

Ivana BAŽANTOVÁ

Learning outcomes of the course unit:

Acquisition of a comprehensive view of the development of ornaments, their foundation in musical expression in the course of the given period and experience in one's treatment of presented examples in comparison with the original version.

Mode of study:

Moderated discussion, analysis of ornaments and preparing for use of contemporary guidance for performance, live peformance

Prerequisites and co-requisites:

Playing skills on keyboard (and other) instruments.

Recommended optional programme components:

Discussions of completed compositions played in the main study.

Course contents:

Brief course outline:

8) Ornaments, their role and function, tracing their development druing the Baroque in individual countries.

9) Tonal characteristics

Course syllabus:

The sections of ornaments covered requre a sense of expression and purpose of composition components so the execution of the linked ornaments are not contrary to the musical expression. As well comfort in the area of so called „willkuerliche Manieren“ requires imagination and particular technical talent but also a knowledge of the period's (style) inversions. To understand the source of these virtuoso ornaments one needs to know the Italian diminished principle (instrumental and vocal), the works and Baroque rhetoric figures for ornaments of so called „wesentlich Manieren“ and then the classification of markings which alternate between periods and regions. The numerous markings and potenital have their own general nature and well-defined types. This knowledge enables easier bearing in these issues.

The high and late Baroque is a concatenation of possible influences and types of ornaments.

Tonal characteristics have a particulary relation to composition expression. In some places it is dependent on the tuining system, and other places for the types of instrument or the individual code of the composer. The Baroque is linked in this to the tendence of modal characteristics. The more modern Baroque is devoted to a rather large number of thoeriticians and compsers of that period. Characteristics of chords and intervals come into purview.

Recommended or required reading:

Course Literatura :

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

Hudební encyklopedie MGG a Grove - příslušná hesla vypracovaná nejlepšími světovými odborníky v oblasti hudební teorie a historie

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:

Exercises combined with lecture

Assessment methods and criteria:

Credit is awarded based on:

1. Active participation in completing assignments.

2. Completion of the the test over ornamentation.

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)