Poetics of Interpretation Performance 2

Register Display Schedule

Subject guarantor:

Ivana BAŽANTOVÁ

Name of lecturer(s):

Ivana BAŽANTOVÁ

Learning outcomes of the course unit:

Course for 1st and 2nd year Master's students. Course takes place over 4 obligatory open meetings during the academic year, two classes per semester. The content is determined by the course leader - a doctoral candidate and trainees. The course is concluded with credit for each semester. The course aims to expand the view of the work of an artist, a musician, across fields. As well this course is an example and preparation for the discusssion at the state final exam in arts fields.

Mode of study:

Doctoral candidates and their trainees perform in class. They lecture on topics regarding their doctoral thesis or material which they deal with in their profession. Interaction between the main protagonists and with the public is required. Sound samples, live music, projections, supplements with examples, guests, practical models, etc. are available to the candidates according to need.

Prerequisites and co-requisites:

Course continuation - necessary credit PIV 1.

Recommended optional programme components:

No elective requirements.

Course contents:

Course for 1st and 2nd year students of the continuing masters study together. Takes place in four obligatory open meetings during the academic year, two classes per semester. The content is determined by the course instructor - a doctoral student and their advisor. The course is completed with credit after each semester. The course serves as preparation for discussions at the state final exams in arts fields.

The most common topics which may be covered by substitutive written papers (if the class attendance requirements are not fulfilled):

Overview of topics:

Preparations for performance activites

Preparation for performance.

Manual, breath, voice technique.

The particulars and differences in interpretive schools.

Stage and studio practice.

The nature of performanc in orhcestra, chamber, choral, solois and recording work.

Educated peformance

Particulars of interpretation of music of the 2nd half of the 20th century.

Psychological and methodological requriements for performance activities.

Performance as intellectual copyright and its links to copyright law.

Exceptional performers of our past and present.

Notation of a music work and its interpretation

Recommended or required reading:

The following is not exhaustive. It is dependent upon insight and topics. This also serves as a resource of written pappers which are to be completed if absent from the course.

Bach, C. Ph. E.: Úvaha o dobré hře na klavír, Paido Brno 2003

Černý, M. K.: Problém hudebního díla, jeho podstaty, identity a forem existence, in Estetika 11/1974, č. 3 (str. 164 - 182) ač. 4 (str. 193 - 212)

Dušek, Bohumil: Dialektika metra, tempa, hybnosti, rytmu a melodie v hudebních skladbách, in: Opus Musicum 10/1978, č. 9, str. 263

Dolmetsch, Arnold: Interpretace hudby 17. a 18. století, SNKLHU 1957

Etudy o klavíru. Interpretace, technika, pedagogika, estetika. Editio Supraphon 1987

Ginzburg, Lev: Estetika studia nástrojové hry. Supraphon Praha 1968

Holečková-Dolanská, Jelena: O deklamaci zpívaného slova. Živá hudba VII, 1980

Hudební věda II, kap. 2 Problém pojetí hudby ve smyslu hudebního díla, str. 316, kap. 7 Teorie a dějiny hudební interpretace, str. 572, SPN 1988

Jiránek, Jaroslav: Hudební sémantika a sémiotika, skriptum, Univ. Olomouc 1996

Jindrák, Jindřich: K interpretační problematice Dvořákových Biblických písní. Živá hudba VII, 1980

Klinda, Ferdinand: Orgánová interpretácia, Opus Bratislava 1983

Kratochvíl, Jiří: Otázka původního znění Mozartova Koncertu pro klarinet a Kvintetu pro klarinet a smyčce. Hudební věda 1967, č. 1.

Kratochvíl, Jiří: Interpretace dechových koncertů W. A. Mozarta na Mezinárodní soutěži PJ 1968. Hudební věda 1969/4.

Kratochvíl, Jiří: Několik poznámek k historii dechového kvinteta. Referát ze sympozia o A. Rejchovi. Hudební věda 1970, č. 3

Kratochvíl, Jiří: Dechové nástroje v klavírních koncertech W. A. Mozarta. Živá hudba VII, 1980

Kratochvíl, Jiří: Úpravy a retuše v praxi. Živá hudba IX, Praha 1986

Kratochvíl, Jiří: Koncertantní dechové nástroje ve vokálních skladbách J. J. Ryby. Živá hudba VIII, Praha 1983.

Kratochvíl, Jiří: Mozartovské otazníky. Živá hudba X, Praha 1989

Kuna, Milan - Bláha, Miloš: Čas a hudba. K dramaturgii časových prostředků v hudebně interpretačním výkonu Studie ČSAV č. 18, Praha Academia 1982

Mozart, Leopold: Důkladná škola na housle. temperament, Ivan Černý 1999

Nejgauz, Genrich: Poetika klavíru

Novotný, Břetislav: Partity J. S. Bacha. Komentář interpretace polyfonní hudby na smyčcové nástroje.

Quantz J.J.: Pokus o návod, jak hrát na příčnou flétnu.

Růžičková, Zuzana: Interpretační praxe v barokní hudbě se zřetelem k cembalu a klávesovým nástrojům

Slovník české hudební kultury, Supraphon Praha 1997 (doporučená hesla: hudebně rétorické figury, hudební myšlení, interpretace, notace, poezie)

Stanislav, Ján - Kresánek, Jozef: Zo vzťahou medzi rečou, hudbou a spevom. K problematice umeleckého majstrovstva, in Hudební rozhledy, roč. II, sv. 5, Praha 1956

Sýkora, Václav Jan: Dějiny klavírního umění. Praha 1973.

Sýkora, Václav Jan: Improvizace včera a dnes. Praha 1966.

Váňová, Radana: Grafické znaky rozličných druhů pizzicata. JAMU Brno 1980

Zich, Jaroslav: Instrumentační práce se skupinami. SNKLHU, Praha 1957.

Zich, Jaroslav: Prostředky výkonného hudebního umění. SNKLHU, Praha 1959.

Zich, Jaroslav: Instrumentace Smyčcové serenády Josefa Suka. Živá hudba 1962, SPN, Praha 1962.

Zich, Jaroslav: Instrumentace Dechové serenády Antonína Dvořáka. Živá hudba IV, 1969.

Zich, Jaroslav: Orchestrace koncertu pro smyčcový nástroj (A. Dvořák: Koncert pro violoncello) Živá hudba VI, 1976

Zich, Jaroslav: Instrumentace Páté symfonie Dmitrije Šostakoviče. Živá hudba VII, 1980

Zich, Jaroslav: Orchestrace klavírní skladby (A. Glazunov, Chopiniana, op. 46). Živá hudba VIII, Praha 1983.

Zich, Jaroslav: Orchestrace finále Čtvrté symfonie Gustava Mahlera (Zpěv s orchestrem). Živá hudba IX, Praha 1986

Zich, Jaroslav: Sdělovací Orchestrace a sborová sazba.

Planned learning activities and teaching methods:

Classes

Assessment methods and criteria:

Credit conditions: obligatory attendance in classes is a matter of course, but a minimum of 50% (one each semester). Credit is awarded by I. Bažantová in each semester of the master's study based on attendance. The students whose attendance is considered insufficient will fulfill a substitute task in the form of a text developed and defended in a professional discussion (of at least 4 pages for each semester, a minimum of 8 pages for the entire academic year) on some of the course curriculum points (see below).

Course web page:

Note:

Course descriptions are to be posted (subject, study, course) in the vestibule or in your school email. Starting dates (when known) and scheduling are on the KOS system.

Schedule for winter semester 2014/2015:

The schedule has not yet been prepared

Schedule for summer semester 2014/2015:

	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	místnost 999 různé () BAŽANTOVÁ I. 15:30–17:00 (paralelka 1)
Wed
Thu
Fri

Date	Day	Time	Tutor	Location	Notes	No. of paralel
	Tue	15:30–17:00	BAŽANTOVÁ I.	různé		paralelka 1

The subject is a part of the following study plans:

• Flute (Mg) (next compulsory subject)
• Clarinet (Mg) (next compulsory subject)
• Harpsichord (Mg) (next compulsory subject)
• Piano (Mg) (next compulsory subject)
• Organ (Mg) (next compulsory subject)
• Oboe (Mg) (next compulsory subject)
• Bassoon (Mg) (next compulsory subject)
• French Horn (Mg) (next compulsory subject)
• Trumpet (Mg) (next compulsory subject)
• Trombone (Mg) (next compulsory subject)
• Tuba (Mg) (next compulsory subject)
• Harp (Mg) (next compulsory subject)
• Double Bass (Mg) (next compulsory subject)
• Guitar (Mg) (next compulsory subject)
• Violin (Mg) (next compulsory subject)
• Cello (Mg) (next compulsory subject)
• Viola (Mg) (next compulsory subject)
• Percussion Instruments (Mg) (next compulsory subject)
• Voice (Mg) (next compulsory subject)
• Operatic Directing (Mg) (next compulsory subject)
• Conducting (Mg) (optional subject)
• Composition (Mg) (optional subject)
• Music Directing (Mg) (optional subject)
• Music Theory (Mg) (optional subject)
• Sound Design (Bc) (optional subject)
• Sound Design (Mg) (optional subject)
• Chamber Performance (Mg) (next compulsory subject)
• Music Production (Mg) (optional subject)