Historically Educated Interpretation 2

Display Schedule

Subject guarantor:

Ivana BAŽANTOVÁ

Name of lecturer(s):

Ivana BAŽANTOVÁ

Learning outcomes of the course unit:

1. To introduce students with the birth of the Baroque in concordance with other arts and the particulars of music.

2. To outline issues of individual elements of interpretation for management of a Baroque composition.

3. Recognition of the possibilities of period notation in relation to contemporary interpretation practice.

Mode of study:

Lecture, notation sample analyses and analyses of recordings, comparisons.

Prerequisites and co-requisites:

Active relationship to the covered material. Desire to complete detailed class tasks (usually source texts related to the covered topics).

Course contents:

1. A glimpse into epochs, birth of the Baroque, definition and continuity in contrast to the Renaissance, comparison with graphic arts, architecture, philosophy, etc.

2. Baroque music and its composition principles, basic styles, relation to rhetoric, effect, temperament, etc.

3. Tempo issues - measuring time, measure, phrase expression, free forms, Baroque rubato tempo.

4. Rhythm, accent, unequal playing, working with dotted rhythms and other consequences.

5. The Baroque suite - characteristics and the development of important dnaces

6. Italian diminution of the late Renaissance and early Baroque and it importance. Early sonata and fantastic style.

7. Ornamentation

8. Articulation and instrument technique.

9. Dynamics

10. Tuning systems, tone characteristics

11. Analyses of selected compositions (selection - ex: H. Schuetz, C. Monteverdi, A. Corelli, J.B. Lully, J.S. Bach, J. P. Rameau, J.D. Zelenka)

Recommended or required reading:

Czeh and Slovak

Slovník české hudební kultury, Editio Supraphon Praha 1997 (keywords such as; agogika, barok, hudebně rétorické figury, monodie, opera, ornamentika, sonáta, suita, tempo)

ALAIN, Marie-Claire, Poznámky o „francouzském způsobu“ interpretace hudby 16. - 18. století, LK MKS Ostrava 1988

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

BUKOFZER, Manfred F., Hudba v období baroka, Opus Bratislava 1986

BURNEY, Charles, Hudební cestopis 18. věku, SHV Praha 1966

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

JANOVKA, Tomáš Balthazar, Klíč k pokladu velikého umění hudebního, KLP Praha 2006

KAZÁROVÁ, Helena, Barokní taneční formy, AMU 2005

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

POLÁK, Pavol, Hudobnoestetické náhl´ady v 18. storočí, Veda, Bratislava 1974

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 v barokní hudbě se zřetelem k cembalu a klávesovým nástrojům, 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 Dictionary

Foreign Periodicals - Early Music, Concerto aj. (available at Universitní knihovně v Klementinu)

BACH, Carl Philipp Emanuel, Versuch über die wahre Art das Clavier zu Spielen, Berlin I 1753/1787, II 1762/1797. - Transl. and ed. by William J. Mitschell as Essay on the True Art of Playing Keyboard Instruments, New York 1949

The Companion to Baroque Music, Ed. J. A. Sadie, Oxford University Press 1998

DAMMANN, Rolf, Der Musikbegriff im deutschen Barock, Laaber-Verlag 1984

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, Aufführongspraxis alter Musik Heinrichshofen, Wilhelmshaven 1971 (a další)

HARNONCOURT, Nikolaus, - Musik als Klangrede. Wege zu einem neuen Musikverständnis, DTV Bärenreiter 1987

- Der musikalische Dialog. Gedanken zi Monterverdi, Bach und Mozart, DTV Bärenreiter 1987

MATTHESON, Johann, - Der vollkomenne Capelmeister, 1739

- 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

REIDEMEISTER, Peter, Historische Aufführungspraxis. Eine Einführung, Wissenschaftliche Buchgesellschaft, Darmstadt 1988

VEILHAN, Jean-Claude, Die Musik des Barock und ihre Regeln für alle Instrumente nach Bach, Brossard, Couperin, Hotteterre, Monteclair, Quantz, Rameau, d´Alembert, Rousseau u.a., Alphonse Leduc, Paris 1982

Assessment methods and criteria:

Credit is awarded based on:

1. During the course, one individual short paper is required.

2. Completion of the final exam which contains theory and solving notation examples.

Course web page:

Note:

none

Schedule for winter semester 2017/2018:

The schedule has not yet been prepared

Schedule for summer semester 2017/2018:

	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
Wed
Thu	room 2057 Učebna 2057 (Lichenštejnský palác) BAŽANTOVÁ I. 08:40–10:10 (paralelka 1)
Fri

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

The subject is a part of the following study plans:

• Music Theory (Bc) (required subject with the possibility of repeat registration)