HF0120z Interpretation of Early Music II

Faculty of Music
Winter 2024
Extent and Intensity
2/0/2. 2 credit(s). Type of Completion: z (credit).
Teacher(s)
prof. Barbara Maria Willi, Ph.D., MBA (lecturer)
Guaranteed by
prof. Barbara Maria Willi, Ph.D., MBA
Organ and Early Music Department – Dean’s Office – Faculty of Music – Janáček Academy of Performing Arts
Supplier department: Organ and Early Music Department – Dean’s Office – Faculty of Music – Janáček Academy of Performing Arts
Prerequisites
Successfully completed subject Interpretation of Early Music I.
Course Enrolment Limitations
The course is only offered to the students of the study fields the course is directly associated with.
fields of study / plans the course is directly associated with
Course objectives
The subject supports the creativity and personality of the student and prepares them for independent work in highly competitive environments. Studying the subject prepares the student for the variability and flexibility of the labour market. The student has the opportunity to connect the theory of the historically informed performance practise beyond their skills on a classical or historical instrument. The future graduate of the subject should acquire the knowledge, ability and skills so as to incorporate them into their concert activity. The aim of this course is to prepare the student for authentic interpretation in solo and ensemble playing, as well as in specialized orchestras. For students to correctly interpret the early music, it is necessary that they be familiarized with the relevant issues: tempo, instrumental setting, articulation, phrasing, tuning, ornamentation, etc. All these questions need to be supported by the corresponding literature.
Learning outcomes
This subject supports creativity and the individuality of students and it prepares them to work independently in highly competitive environments.
The subject prepares students for the uncertainties and flexibility of the labour market.
Students have the opportunity to delve into the theory and practice of historical interpretation beyond the realms of their knowledge of classical and historical instruments.
Syllabus
  • Detailed study of: Period sources such as treatises, manuals, introductions to compositions, tables of ornaments, encyclopaedias, music dictionaries. Contemporary sources such as RISM, catalogues of sources, e.g.: Méthodes et Traités, thematic catalogues, catalogues of works in dictionaries, such as Grove, MGG, bibliographic dictionaries and books, critiques, musicology journals. Iconographie such as pictures, graphics, drawings, statues.
  • Examples of discussed topics: Baroque affective theory: The baroque affective theory is a term from musical aesthetics. The term for the affective theory, Affektenlehre, was adopted in the 20th century in Germany. Affect designates a passionate expression of the soul, e.g. enthusiasm, anger, fear, shame, joy, etc. The influence of rhetoric on music guided composition, performance and the analysis of musical works. Components of musically-rhetorical figures: Anabasis (ascending) – ascendant, an impression of ascent. Catabasis (descending) – descent, the effect of humility. Fugues and canons – a sense of fleeing and haste and many others.
  • etc.
Literature
    recommended literature
  • 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
  • Grove, Riemann, MGG a další světové slovníky a encyklopedie. info
  • Hotteterre: Principes de la flute; Methodes et Traité de basson. info
  • Neumann, Frederick: Ornamentation in Baroque and Post-Baroque Music. With special emphasis on J. S. Bach. University Press, Princeton 1980. info
  • Pfister, Manfred: Das Drama. München 1997 (9. vyd.). Anglicky: Pfister, Manfred: The theory and analysis of drama. Cambridge : Cambridge University Press, 1988. 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
  • BUKOFZER, Manfred. Music in the Baroque Era. W. W. Norton & Company: 1947
  • 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
Teaching methods
The teacher evaluates students on the basis of their knowledge, contributions, progress, individual preparation, abilities, etc. The teacher monitors the theoretical knowledge of the students as well as well as the extent of their orientation in the given subject.
Assessment methods
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. Oral or written exam.
Language of instruction
English
Further comments (probably available only in Czech)
The course is taught: every week.
Note related to how often the course is taught: Wednesday, 13:30, dean's office.
The course is also listed under the following terms Winter 2021, Winter 2022, Winter 2023.
  • Enrolment Statistics (recent)
  • Permalink: https://is.jamu.cz/course/hf/winter2024/HF0120z