Poetics of Interpretation Performance 3
| Code | Completion | Credits | Range | Language Instruction | Semester |
|---|---|---|---|---|---|
| 108PIV3 | Z | 2 | BLOK | Czech | winter |
Subject guarantor
Name of lecturer(s)
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
Completion of PIV 1 and PIV 2.
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 schopnost hudby. In: Kapitoly a studie z hudební estetiky. Supraphon, Praha 1975.
Zich, Jaroslav: Orchestrace a sborová sazba.
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).
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 2018/2019:
| Date | Day | Time | Tutor | Location | Notes | No. of paralel |
|---|---|---|---|---|---|---|
| 20.11.2018 | 15:30–17:00 | Ivana BAŽANTOVÁ | Galerie HAMU Lichenštejnský palác |
parallel1 |
Schedule for summer semester 2018/2019:
The schedule has not yet been prepared
The subject is a part of the following study plans
- Composition-Specialization electroacoustic music (Mg) (optional subject)
- Composition-Specialization Film Music (Mg) (optional subject)
- Composition-Specialization Composition (Mg) (optional subject)
- Conducting (Mg) (optional subject)
- Operatic Directing (Mg) (required main subject)
- Voice (Mg) (required subject with the possibility of repeat registration)
- Harpsichord (Mg) (required subject with the possibility of repeat registration)
- Chamber Music (Mg)-Piano Trio (required subject with the possibility of repeat registration)
- Piano (Mg) (required main subject)
- Organ (Mg) (required subject with the possibility of repeat registration)
- Harp (Mg) (required subject with the possibility of repeat registration)
- Violin (Mg) (required subject with the possibility of repeat registration)
- Chamber Music (Mg)-String Quartet (required subject with the possibility of repeat registration)
- Double Bass (Mg) (required subject with the possibility of repeat registration)
- Guitar (Mg) (required subject with the possibility of repeat registration)
- Cello (Mg) (required subject with the possibility of repeat registration)
- Viola (Mg) (required subject with the possibility of repeat registration)
- Bassoon (Mg) (required subject with the possibility of repeat registration)
- Flute (Mg) (required subject with the possibility of repeat registration)
- Oboe (Mg) (required subject with the possibility of repeat registration)
- Chamber Music (Mg)-Wind Quintet (required subject with the possibility of repeat registration)
- Clarinet (Mg) (required subject with the possibility of repeat registration)
- French Horn (Mg) (required subject with the possibility of repeat registration)
- Trombone (Mg) (required subject with the possibility of repeat registration)
- Trumpet (Mg) (required subject with the possibility of repeat registration)
- Tuba (Mg) (required subject with the possibility of repeat registration)
- Music Production (Mg) - 2016/17 (optional subject)
- Music Directing (Mg) (optional subject)
- Sound Design (Mg) (optional subject)
- Percussion Instruments (Mg) (required subject with the possibility of repeat registration)
- Music Theory (Mg) (optional subject)
- Chamber Performance (Mg) (required subject with the possibility of repeat registration)