HF0121z Chamber Music I

Hudební fakulta
zima 2020
Rozsah
0/2/2. 2 kr. Ukončení: z.
Vyučující
MgA. Michaela Koudelková (přednášející)
Bc. Jan Čižmář, Ph.D., M.A., B.A., dipl. um. (cvičící)
MgA. BcA. et BcA. Martin Hroch, Ph.D., MBA (cvičící)
Michaela Šikulová Ambrosi, Ph.D., MMus (cvičící)
MgA. Marek Štryncl (cvičící)
Mgr. Irena Troupová (cvičící)
prof. Barbara Maria Willi, Ph.D. (cvičící)
Garance
prof. Barbara Maria Willi, Ph.D.
Katedra varhanní a historické interpretace - Děkanát - Hudební fakulta - Janáčkova akademie múzických umění v Brně
Dodavatelské pracoviště: Katedra varhanní a historické interpretace - Děkanát - Hudební fakulta - Janáčkova akademie múzických umění v Brně
Předpoklady
Successful admission.
Omezení zápisu do předmětu
Předmět je určen pouze studentům mateřských oborů.
Mateřské obory/plány
Cíle předmětu
The subject Chamber Music performance enables students to get acquainted with the historically informed performance practise of early music. The student is in close contact with the style of baroque and classicist music through a large number of chamber music literature of these periods. During the course the students have the possibility to cooperate in variable instrumental and vocal settings - melodic instruments, instruments of the basso continuo section and voices. The student during the study compares different instruments, their possibilities, the interconnection of the style of music and the interpretation, ornamentation and performance. After completing the subject, the student should achieve an artistic-interpretative level that will allow him to apply his newly acquired knowledge not only as a player in chamber ensembles but also as a solo player, i.e. that the student is guided during the study so that after completing the subject he may be a flexible chamber music player with a separate ability to operate a historically informed performance practise.
Výstupy z učení
The subject Chamber Music enables students to become closely acquainted with the historical performance conventions of music from early periods.
The general aim of this subject is to enable graduates to share the knowledge that they have gained from their studies.
Practical knowledge is taught through theoretical analyses and putting it into practice.
The students are in direct contact with the baroque (classical) music styles through a vast range of contemporary literature about chamber music.
During the course, the students compare individual instruments, their capabilities, interconnected styles of music and interpretation, ornamentation and performance.
Osnova
  • Students form ensembles according to a range of criteria.
  • Students have the opportunity to work in a variety of instrumental combinations – voice, melody instruments, those constituting the basso continuo ensemble.
  • The groups that emerge are mixed, thus the students play on both historical and modern instruments as well as in homogenous groups.
  • Groups are profiled according to the tuning of the instruments at their disposal (440 Hz, 430 Hz, 415 Hz etc.).
  • The interpretative principles are established so as to suit all levels of students, which covers everyone from beginners to the most advanced.
  • Time period: 17th century to the first half of the 18th century (1650–1750).
  • When performing baroque music, it is necessary to take into account essential elements, such as: the assertion of major – minor tonality and harmonic thought melody – vocal lines in recitative style, instrumental melody lines, the use of ornaments, etc., motor rhythm, tempo and dynamics.
  • In training beginners, it is necessary to define key groups in the performance of older styles of music that they have not yet been able to explore, for example: declamation and rhetoric phrasing, including the hierarchy of beats within a bar, musical figures, tempo, rhythm in general and rhythmic elements, performance of ornaments (grace notes, trills, free ornamentation, vibrato, messa di voce, glissando, etc.).
Literatura
    doporučená literatura
  • Bruce Haynes: A history of performing pitch;. info
  • Couperin, François: L´Art de toucher le clavecin. Breitkopf und Härtel 1933. info
  • Dolmetsch, A.: The Interpretation of the Music of the XVIIth and XVIIIth Centuries, London 1915. info
  • Donington, Robert: The interpretation of Early Music. Faber & Faber, London 1989. info
  • Neumann, Frederick: Ornamentation in Baroque and Post-Baroque Music. With special emphasis on J. S. Bach. University Press, Princeton 1980. info
  • Rosen, Ch. : The Classical style - Haydn, Mozart, Beethoven. New York 1998. info
  • Vybrané hudebně-teoretické traktáty (S. Ganassi, G. Caccini, J. Mattheson, L. Mozart, J. J. Quantz, C. Ph. E. Bach, D. G. Türk u. a.). info
  • BURNEY, Charles. The present state of music in France and Italy: or, The journal of a tour through those countries, undertaken to collect materials for a general history of music. T. Becket, 1773
  • BUKOFZER, Manfred. Music in the Baroque Era. W. W. Norton & Company: 1947
Výukové metody
Student performance analysis - continuous monitoring of student performance (interpretation and discussion), semestral concert.
Metody hodnocení
Students are evaluated according to their knowledge, abilities, presentations, progress, individual preparation. The teacher evaluates the activity of students, how much they have learnt and their ability to shape this into an oral presentation. The teacher monitors the gains in theoretical knowledge of the students as well as their ability to deal with specific issues. Semestral concert.
Vyučovací jazyk
Angličtina
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