Baroque Music Interpretation 1

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Subject guarantor:

Petra ŽĎÁRSKÁ

Name of lecturer(s):

Petra ŽĎÁRSKÁ

Learning outcomes of the course unit:

The course aim is the acquisition of component knowledge of individual sections which are part of the handling of period interpretation: A basic approach to issues, bearing in the epoch and style, approach to component parts and its interpretation, management of basic concepts, their period content, introduction to regions, styles and other differences. Preparations for the orientation and basic knowledge of Baroque interpretation issues with possible application and focus on Baroque keyboard music performance. Basic discussion about score material, selected for the given topic.

Mode of study:

Lecture combined with sound and notation samples with active participation of the students in the assignement of detailled analytical or completion tasks.

Prerequisites and co-requisites:

Partial knowledge of the Baroque repertoire and not only on one's instrument.

Course contents:

Brief course curriculum:

1) Glimpse into the markings of Baroque art and their reflection in music, mutual relationships and differences. The spiritual birth of the Baroque and its manifestation in music, philosophy and aesthetic, music pathetique, affect theory, rhetoric, music rhetoric figures, characters, elements analogy, numerical proportion, cosmology, etc.

2) Tempo, measure, Baroque suite dance, measureless preludes, rhythmic and expressive accent

Exercises and small task, listenings and analyses (Schuetz, Froberger, Kuhnau, J.S.Bach, Monteverdi, L. Couperin, J.B.Lully, and others)

This course is the basis for the perception, understanding and the execution of one's own Baroque keyboard music (including late Renaissance, pre-Romantic, Galant and pre-Classic) This is also for basso continuo and chamber application, or possibly concertante music of the aforementioned periods. Preparations for working with critique editions, originals, revisions, etc.

Recommended or required reading:

Literatura předmětu:

Česká a slovenská

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

KALISTA, Zdeněk, Tvář baroka, Praha 1992, 2. vyd. Garamond, 2005

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

POLÁK, Pavol, Hudobnoestetické náhľady 18. storočia, Bratislava 1972

QUNTILIANUS, Marcus Fabius, Základy rétoriky,Odeon (Živá díla minulosti), Praha 1985

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

VILLARI Rosario (editor), Barokní člověk a jeho svět, Vyšehrad 2004

Cizojazyčná

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

BARTEL, Dietrich, Handbuch der musikalischen Figurenlehre, Laaber Verlag 1997

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

Assessment methods and criteria:

Credit is awarded based on:

Well prepared single analysis of an assigned baroque composition (ex: an aria of a selected cantata by J.S. Bach or Kuhnauovy Sonata, or the like.) in which the knowledge from the entire semester is demonstrated, including a personal creative approach based on the to-date experience.

Course web page:

Note:

None

Schedule for winter semester 2016/2017:

The schedule has not yet been prepared

Schedule for summer semester 2016/2017:

The schedule has not yet been prepared

The subject is a part of the following study plans:

• Harpsichord (Bc) ()
• Organ (Bc) ()