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Improvisation -
Achieving an aesthetically valuable stylization of folk and popular song and free expression using appropriate form and hierarchy of musical expressive devices.
Stylization of folk and popular song using chord markings. Free improvisation in a specified small form and with a given range of musical expression. Modal distinction as a means of constructing small two-part and three-part forms. Search for own approach and evaluation of personal possibilities of students in prompt interpretation and adaptation of parts and scores.
Ensemble playing - Chamber playing - Accompaniment - Orchestral part playing - Chamber orchestra
This course is designed to develop skills and gain experience in ensemble playing and piano collaboration.
Students create a community of practice in the performance of chamber music. The selection of repertoire studied and the form of collaboration thus becomes an organizationally challenging team project. Compositions studied are individually consulted with faculty in the course with opportunities for presentation at performance seminars, departmental concerts, faculty performance competitions, and numerous other social occasions.
For string instrument students, consistent training in playing orchestral parts and mastery of the principles of ensemble work is essential. It is a preparation for chamber and orchestral playing as well as for the pedagogical work of the string teacher
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Last update: Nedělka Michal, prof. PaedDr., Dr. (09.09.2024)
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The student understands improvisation as an artistic and pedagogical activity developing musical thinking and creative potential of the personality. The student possesses improvisational skills that enable him/her to express his/her own musical ideas outside of major-minor tonality and allow him/her to use simple accompaniment patterns to folk songs. He or she can apply these models when arranging songs for vocal ensembles or for children's instruments. Ensemble play - piano: Student pianists understand ensemble play as an important part of their future pedagogical and artistic work. In the course, students will become familiar with key works of Czech chamber literature. The student collaborates with instrumentalists and singers on the realization of compositions according to an individual plan. Last update: Palkovská Jana, doc. MgA. (19.09.2024)
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Preparation for lesson Last update: Nedělka Michal, prof. PaedDr., Dr. (09.09.2024)
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Improvisation - prepared and performed tasks in agreement with the teacher Last update: Nedělka Michal, prof. PaedDr., Dr. (10.09.2024)
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Party a partitury evropské klasické nástrojové hudby 18., 19. a 20. století, soudobá hudba. Notový materiál. Audionahrávky a videonahrávky. BAŽANT, J. Metodika klavírní improvizace. 1. vyd. Plzeň : 1997. BEZDĚK, J. Úvod do harmonizace české lidové písně a do její jednoduché stylizace pro klavír a akordeon. 3. vyd. Plzeň : Západočeská univerzita, Pedagogická fakulta, 1999. 118 s. ISBN 80-7082-517-0. DAHLHAUS, C. Was heißt Improvisation? In: Improvisation und neue Musik. Mainz : Schott, 1979, s. 9-23. ISBN 3-7957-1760-4. FERAND, E. Die Improvisation in der Musik. b.v. Zürich : Rhein - Verlag, 1939, 405 s. MARCOLOVÁ, J. Klavírní improvizace pro děti předškolního věku a žáky 1. - 3. ročníku LŠU. Metodická příručka pro pedagogy. 1. vyd. Praha : Panton, 1983. 36 s. NEDÉLKA, M. Klavír jako nástroj tvořivého rozvoje osobnosti. Praha : Univerzita Karlova v Praze, Pedagogická fakulta, 2011. 189 s. ISBN 978-80-7290-427-3. VRÁNEK, T. Anatomie improvizace. 1. vyd. České Budějovice : Jihočeská univerzita, 1996. 142 s. ISBN 80-7040-167-2. KRAEHENBUEHL, D.; CLARK, F.; GOSS, L. Keyboard Theory. Book four. 1. vyd. Secaucus : Warner Bros, 1965. 48 s. ISBN 0-87487-118-2.
Last update: Kubátová Gabriela, PhDr., Ph.D. (07.02.2022)
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Piano improvisation Ensemble playing - students form a community of chamber music performance when possible. The selection of the studied repertoire and the form of cooperation thus become an organizationally demanding team project. Compositions studied are individually consulted with the instructors in the course, with opportunities for presentation at performance seminars, departmental concerts, faculty performance competitions, and numerous other social occasions. Last update: Valášek Marek, doc. Mgr. MgA., Ph.D. (05.09.2025)
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The student defines improvisation as an artistic and pedagogical discipline, characterizes the place of improvisation in the development of the art of music performance. The student characterizes the pedagogical importance of improvisation in relation to the musical development of the personality and in relation to the general development of the human being. The student improvises on the basis of a limited supply of notes. The student characterizes and evaluates his/her improvisational performance and explains the chosen methods and procedure for teaching improvisation. The student gives examples of improvised accompaniments. The student characterizes types of organ point and plays them on the piano in all keys. The student characterizes the sound effect of this type of accompaniment and its selection according to the character of the songs. The learner will play 3 folk songs with 3 types of organ point in the fundamental key and in transpositions to keys that allow the development of the range of the child's voice. The student characterizes types of ostinato and play these types on the piano in all keys. The learner will play 3 folk songs with 3 types of ostinato in the fundamental key and in transpositions to keys that allow for the development of the range of the child's voice. The student defines combinations of organ point and ostinato and play them on the piano in all keys. The student plays 3 folk songs with 3 types of this accompaniment in the fundamental key and in transpositions to keys that allow for the development of the range of the child's voice. The student characterizes the principles of multiple voice arrangements of folk song. The learner explains the principles of the folk double voice. The learner will play 3 folk songs in folk double voice. Chooses a different type of accompaniment for each song - ostinato, organ point, combination of organ point and ostinato. She will play the songs in the basic key and in transpositions to keys that allow the development of the range of the child's voice. The student explains the use of ostinato and organ point in arrangements of songs for vocal performance and for children's instruments. The student explains the principles of melodic construction and improvises 4 melodies within modal and extended tonality. The student improvises 4 self-periods in various major keys and 4 in various minor keys: with ostinato accompaniment, organ point, and a combination of ostinato and organ point. The student improvises 4 small two-part period forms in different major keys and 4 in different minor keys: with accompaniment by ostinato, organ point, and a combination of ostinato and organ point. The student improvises 4 small three-part forms with reprise in different major keys and 4 in different minor keys: with accompaniment by ostinato, organ point, and a combination of ostinato and organ point. The student improvises period and minor two-part and three-part forms within extended tonality and modality. The student explains the procedure for teaching all improvised patterns. Ensemble play - piano: Student will learn the terminology of ensemble play. Student will gain a high-quality knowledge of Czech chamber literature within the framework of joint seminars. Through self-study, student will supplement his/her listening knowledge of top chamber compositions with piano participation by Czech composers. Student will create an independent ensemble collaboration project. As part of the project, the student creates a portfolio that contains specific studied and rehearsed compositions of the chamber repertoire. Student chooses compositions based on their artistic intentions, experience and technical possibilities. Student collaborates with the ensemble teacher to create an individual plan for ensemble play, possibly consults with his instrument teacher. Student is looking for partners for ensemble collaboration. Student will develop skills in communication with instrumentalists and singers. The student acquires the main principles in the field of piano collaboration. Student presents his/herr portfolio of chamber compositions as an output from the course. Student gains stage experience in piano collaboration. Student uses the opportunity to present studied compositions at seminars. Students gradually create their own profile as a pianist - chamber player according to their artistic and technical priorities Last update: Palkovská Jana, doc. MgA. (19.09.2024)
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