Presentation of the piano repertoir, analysis and discussion about various questions of interpretation, getting experiences in the area of styles of interpretation, psychologic problems of the music performance, preparing for the pedagogic praxi in general.
Cíl předmětu - angličtina
Poslední úprava: GREGOR/PEDF.CUNI.CZ (22.02.2013)
The goal of this subject is in presentation of the piano interpretation, training of discussing about music, comparison of several styles of interpretation.
Sylabus - angličtina
Poslední úprava: PhDr. Gabriela Kubátová, Ph.D. (20.05.2019)
Communication takes place in an open atmosphere, all participants are aware of the fact that exact disciplines of artistic disciplines are not measurable. The permanent endeavor of the teacher is to approach and get to know the essential components (minutiae) of musical notation and possibilities of creative work with them at all stages of development.
As a result, there is a discussion about the views on the musical content of the reproduced compositions and the appropriate choice of technical means for its implementation. In addition, it is necessary to keep in mind the didactic component of the whole process, clarifying the principles of shaping the personality of a young artist and teacher, distinguishing the professional side of performance from personality deposit (and also their mutual interaction). An important element is also acquainting with different types of interpreters with an emphasis on individual approach to individual pupils in teaching practice.
In order to educate future teachers, the interpretational-pedagogical seminar is irreplacesable.
Podmínky zakončení předmětu - angličtina
Poslední úprava: PhDr. Gabriela Kubátová, Ph.D. (20.05.2019)
To obtain the credit, the content of the course logically requires participation in seminars and active participation in the work. There are no more than 2 absences per semester for serious reasons. Another necessary condition is to interpret the work at least once, to talk about the historical context, the composer and the work itself, etc. and in their mutual discussion to defend their own interpretation.
