Historically Educated Interpretation 1

Subject guarantor:

Lukáš MATOUŠEK

Name of lecturer(s):

Lukáš MATOUŠEK

Learning outcomes of the course unit:

Work in class:

- Issues of interpretation (an understanding of notation and formal divisions in compositions, tempo, voice and instrument issues).

- listenings and analysis

- Independent work with editions and literature.

Mode of study:

Students are introduced to the basic of the ars nova music form, issues in perfect and imperfect (double and triple) subdivision of note values, issues in determining tempo, and voice performance with and without text. All presented issues are fundamental, note material as well as comparisons of recordings of performers.

Prerequisites and co-requisites:

No requirements.

Recommended optional programme components:

No elective requirements.

Course contents:

Lecture content:

- understanding of historic music notation

- edition issues (transcription of measure notation)

- forms (ballads, rondeau, virelai/ballata, lay, madrigal, caccia/chase, motet, ....)

- principles of isorhythm, musica ficta.

Recommended or required reading:

Medieval Music in general:

HOPPIN, Richard H.: Medieval Music, London 1978

More detailed about some aspects of medieval music:

ČERNÝ, Jaromír: Proměny rytmiky a metriky ve středověké a renesanční hudbě, in: Čas v hudbě, sborník, SČSKU, Praha 1984, s. 14 - 24

Notation editions (general):

ČERNÝ, Jaromír (ed): Historická antologie hudby v českých zemích (do ca 1530), KLP (Koniasch Latin Press), Praha 2005, ISBN 80-86791-11-4

DAVISON, T. Archibald T. and APPEL, Willi: Historical Anthology of Music, Harvard University Press, Cambridge, Massachutsetts 1966

MARROCCO, W. Thomas and SANDON, Nicholas (ed.): Medieval Music, The Oxford Anthology of Music, Oxford University Press 1977

LUDWIG, Friedrich (ed): Guillaume de Machaut, Musikalische Werke (Band I ? III), VEB Breitkopf & Härtel, Leipzig (this edition is recommended over than the later Schrady edition which is less precise)

WOLF, Johannes - (ed.): Der Squarcialupi Codex Pal. 87, Der Biblioteca Medicea Laurenziana zu Florenz, Lippstadt 1955

APEL, Willi (ed): French Secular Music of the Late Fourteenth Century, Medieval Academy of America, Cambridge, Massachutsetts 1950

PLAMENAC, Dragan (ed): Keyboard Music of the Late Middle Ages in Codex Faenza 117, Americn Institute of Musicology 1972

Medieval Music performance:

LEECH-WILKINSON, Daniel: Articulation Ars Subtilior Songs, in: Early Music, Vol. 31, No. 1, February 2003, str. 6 ?19

STONE, Anne: Self-reflexieve songs and their readers in the late 14th century, in: Early Music, Vol. 31, No. 2, April 2003, str. 180 ? 195, in: Early Music, Vol. 31, No. 2, April 2003, str. 180 - 195

GREIG Donald: Ars Subtilior repertory as performance palimpsestEarly Music 2003 XXXI: 196 ? 209

GULLO Salvatore: Das Tempo in der Musik des XIII. und XIV. Jahrhunderts (professional publication intended for study/research)

McGEE, Timothy J.: Medieal and Renaissance Music, A Performer?s Guide, Scolar Press, UK 1990 ? (strongly not recommended, there is a lot of mere imagination in parts)

About Medieval music notation (this is for professional researchers but of informational interest):

APEL, Willi: Die Notation der Polyphonen Musik 900 ? 1600, VEB Breitkopf & Härtel, Leipzig 1970 (German translation of the original English). The Notation of Polyphonic Music 900 - 1600)

MUŽÍK, František: Úvod do kritiky hudebního zápisu, Universita Karlova, Praha 1961

Various periodicals:

Miscellanea musicologica, sborníky prací katedry hudební vědy FF UK

Early Music, quarterly, vydává Oxford University Press

Planned learning activities and teaching methods:

lecture and exercises

Assessment methods and criteria:

Credit is awarded based on student activity and knowledge acquired during lecture.

Course web page:

Note:

none

Schedule for winter semester 2013/2014:

	06:00–08:0008:00–10:0010:00–12:0012:00–14:0014:00–16:0016:00–18:0018:00–20:0020:00–22:0022:00–24:00
Mon
Tue
Fri
Thu	místnost 2057 Učebna KTDH 2057 (Lichenštejnský palác) MATOUŠEK L. 08:40–10:10 (paralelka 1)
Fri

Date	Day	Time	Tutor	Location	Notes	No. of paralel
	Thu	08:40–10:10	MATOUŠEK L.	Učebna KTDH 2057 Lichenštejnský palác		paralelka 1

Schedule for summer semester 2013/2014:

The schedule has not yet been prepared

The subject is a part of the following study plans:

• Obor Flétna (Bc) (compulsory optional subject)
• Obor Housle (Bc) (compulsory optional subject)
• Obor Klarinet (Bc) (compulsory optional subject)
• Obor Hoboj (Bc) (compulsory optional subject)
• Obor Fagot (Bc) (compulsory optional subject)
• Obor Lesní roh (Bc) (compulsory optional subject)
• Obor Trubka (Bc) (compulsory optional subject)
• Obor Pozoun (Bc) (compulsory optional subject)
• Obor Tuba (Bc) (compulsory optional subject)
• Obor Klavír (Bc) (compulsory optional subject)
• Obor Varhany (Bc) (compulsory optional subject)
• Obor Cembalo (Bc) (compulsory optional subject)
• Obor Viola (Bc) (compulsory optional subject)
• Obor Violoncello (Bc) (compulsory optional subject)
• Obor Kontrabas (Bc) (compulsory optional subject)
• Obor Harfa (Bc) (compulsory optional subject)
• Obor Kytara (Bc) (compulsory optional subject)
• Obor Bicí nástroje (Bc) (compulsory optional subject)
• Obor Zpěv (Bc) (compulsory optional subject)
• Obor Operní režie (Bc) (compulsory optional subject)
• Obor Hudební teorie (Bc) (next compulsory subject)
• Obor Skladba (Bc) (compulsory optional subject)
• Obor Dirigování (Bc) (compulsory optional subject)
• Obor Dirigování (Mg) (optional subject)
• Obor Hudební management (Bc) (optional subject)
• Obor Zvuková tvorba (Bc) (compulsory optional subject)
• Obor Bicí nástroje-jazz (Bc) (compulsory optional subject)
• Obor Saxofon-jazz (Bc) (compulsory optional subject)
• Obor Klavír-jazz (Bc) (compulsory optional subject)
• Obor Kontrabas-jazz (Bc) (compulsory optional subject)