Baroque Music Interpretation 2

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Subject guarantor:

Petra ŽĎÁRSKÁ

Name of lecturer(s):

Petra ŽĎÁRSKÁ

Learning outcomes of the course unit:

The course aim is a glimpse into issues of historically trained interpretation.

1. fundamental concepts and terminology (in a period context)

2. bearing in the literature (where to find detailed information).

3. style variances (period and regional).

Mode of study:

Lecture supplemented by sound and score samples requiring student participation.

Prerequisites and co-requisites:

A partial knowledge of 17th and 18th century music and not just for keyboard instruments. Continuing the course: Interpretation of Baroque Music I.

Course contents:

Brief course outline:

1) Tempo (time markings, rubato, influence of dance)

2) Rhythm characteristics (dotted rhythms, unequalness, rhythm and expression accents).

3) Articulation and phrasing (importance of the arc and other markings)

4) finger-settings and their influence on articulation

5) Dynamics

6) Diminuations

Course syllabus:

In the 17th and 18th centuries there was no detailed writing of interpretation instructions. To understand Baroque music one needs a broader view than in many other later style periods.

The lectures are devoted to managing the tempo, rhythm and meter aspects of Baroque music; articulation, phrasing, dynamics and other.

Recommended or required reading:

Czech and Slovak:

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

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

KAZÁROVÁ, Helena, Barokní taneční formy, AMU 2005

MOZART, Leopold, Leopolda Mozarta, velkoknížecího salcburského vícekapelníka 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

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

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

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

Assessment methods and criteria:

Credit is awarded based on:

Lecture participation

completion and presentation of a paper

During the semester the student is required to do independent readings and participate in discussion. 70% lecture attendance is required. If not managed for health reasons substitute tasks may be requested.

Course web page:

Note:

none

Schedule for winter semester 2017/2018:

The schedule has not yet been prepared

Schedule for summer semester 2017/2018:

The schedule has not yet been prepared

The subject is a part of the following study plans:

• Harpsichord (Bc) (required subject with the possibility of repeat registration)
• Organ (Bc) (required subject with the possibility of repeat registration)