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Major Instrument and Repertoire Creation -
Evaluation of a comprehensive view of the student's individual technical and interpretive possibilities according to the achieved results, supplementation and improvement of individual aspects by studying compositions of European classical music and contemporary music. Building a comprehensive repertoire background for the future pedagogical and social application of expertise. Creation of projects of individual study plans. Compilation of a two-semester individual study plan. Solution of technical and interpretive issues with emphasis on the methodological approach at various levels. Studying numerous instructive compositions related to the main repertoire plan. Presentation of partial fulfillment of an individual study plan at interpretation seminars, at faculty concerts, at interpretation competitions of pedagogical faculties.
Interpretation Class -
Public presentation of the developed, studied instrumental repertoire. Acceptance of criticism and its processing. Strengthening the ability of non-conflict communication. Presentation of own creative work, promotion, defense of own opinions, but also respecting different ones. Building the ability to positively motivate oneself and others, strengthening cooperation and support, suppressing negative competitiveness. Psychological and ethical issues of self-presentation.
Last update: Kubátová Gabriela, PhDr., Ph.D. (11.09.2022)
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Development of the student's individual technical and performing abilities, supplementing and improving individual aspects by studying the repertoire of European classical music and contemporary music. A plan to build a versatile repertoire base for future pedagogical, artistic and social application of expertise. Creation of individual study plans. Last update: Kubátová Gabriela, PhDr., Ph.D. (10.09.2024)
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Expected preparation time for 1 hour lecture 30 minutes Expected preparation time for 1 workshop 120 minutes Self-study of literature (per semester) 4 hours Work with study materials (per semester) 12 hours Completion of continuous assignments (per semester) 20 hours Completion of the course Seminar papers 0 hours Preparation for credit 30 hours Preparation for and examination 0 hours Last update: Kubátová Gabriela, PhDr., Ph.D. (10.09.2024)
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Credit Piano/ Violin Studying the appropriate part of the individual study plan as agreed with the teacher. Last update: Kubátová Gabriela, PhDr., Ph.D. (10.09.2024)
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Parts and scores of European classical instrumental music of the 18th, 19th and 20th centuries. Sheet music. Audio and video recordings. MORAVEC, I. Problém posuzování výkonů druhých a otázka sebekontroly. In: Živá hudba 1976. AMU - SPN, Praha 1976. KOGAN. G. M. Práca pianistu. VŠMU Bratislava, 1988. RUBINSTEIN, A. Moje mladá léta. Z anglického originálu My Yuoung Years přeložila Vlasta Dvořáčková. H & H Praha, 2001. RŮŽIČKOVÁ Z. Interpretační praxe v barokní hudbě se zřetelem k cembalu a klávesovým nástrojům. SPN, Praha 1985. GREGOR, V. Klavír – černobílé tajemství interpretace. Praha: Karolinum 2012, ISBN 978-80-246-2141-8. PAZDERA, J.: Vybrané kapitoly z metodiky houslové hry. Praha: AMU 2015. KUBÁTOVÁ, G. Housle vtvorbě Bohuslava Martinů. Praha: HAMU 2006.
Music Sheets and scores of European classical instrumental music of the 18th, 19th and 20th centuries. Music material. Audio and video recordings
APPLEBAUM, Samuel & Sada. The Way they Play, Book I. Neptune City, New Jersey: Paganiniana Publications 1972. APPLEBAUM, Samuel & Sada. The Way they Play, Book II. Neptune City, New Jersey: Paganiniana Publications 1973. BELL, J., REPIN V., HAHN, H. Violin Virtuosos (Strings Backstage). Richmond: String Letter Publishing 2000. FLESCH, C.: The Art of Violin Playing. New York: Carl Fischer, Inc. 1924. GALAMIAN, I.: Principles of Violin Playing and Teaching. New York: Dover Publications 2013. HART, G.: The violin and its music. Boston: Ditson 1883. KOLNEDER, W. Das Buch der Violine. Zürich: Atlantis Verlag 1993. MARTENS, F. H.: Violin Mastery. New York: Dover Publications 2006. ROTH, H. Violin Virtuosos from Paganini to the 21st Century. Los Angeles: California Classics Book 1997.
BRENDEL, ALFRED. On Music. A Cappella Books. Chicago 2007 COOKE, JAMES FRANCIS. Great Pianists on Piano Playing. Dover Publications, Inc., Mineola, New York 1999 EIGELDINGER, JEAN-JACQUES. Chopin: Pianist and Teacher as Seen by his Pupils. Cambridge University Press, Cambridge 1986. ELDER, DEAN. Pianists at Play. Kahn & Averill, London 1989 GISEKING, WALTER and LEIMER, KARL. Piano Techique. Dover Publications, New York 1972 MACH, ELISE. Great Contemporary Pianists Speak for Themselves. Dover Publications, Inc., New. York 1991. NEUHAUS, HEINRICH. The Art of Piano Playing. Kahn & Averill London 2016 SANDOR, GYORGY. On Piano Playing. Motion, Sound and Expression. Schirmer Books, New York 1981. SADIE, S., GROVE, G. The New Grove Dictionary of Music and Musicians. Macmillan Publishing Company Oxford 2001
Last update: Kubátová Gabriela, PhDr., Ph.D. (10.09.2024)
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Creation of a year-long individual study plan. Studying its corresponding part according to the agreement with the teacher. The two-semester individual plan includes: Piano specialization: 2 etudes according to the level of technical and artistic maturity. D. Scarlatti: Sonata Part of the Baroque Suite Sonata work 19th, 20th century, contemporary music - 1 large-scale composition or several smaller pieces Violin Specialization: Three- or four-octave scales, staggered chords, two-note scales. At least four etudes (Kreutzer, Campagnoli, Rode, Dont). J. S. Bach - four movements from Sonatas and Partitas for solo violin. Violin concerto (classical, romantic). Performance composition of a different style period. Interpretation seminar - communication takes place in an open atmosphere, all participants are aware of the fact of the exact immeasurability of artistic disciplines. The teacher's constant endeavour is to approach and explore the essential components (markers) of musical notation and the possibilities of working creatively with them at all stages of development. This is followed by a discussion of the views on the musical content of the reproduced compositions and the appropriate choice of technical means for its realization. In addition to this, it is necessary to keep in mind the didactic component of the whole process, clarifying the principles of forming the personality of the young performer and teacher, distinguishing the professional aspect of performance from the personal input (in addition to their mutual interaction). An important element is also getting acquainted with different types of performers with an emphasis on individual approach to individual pupils in pedagogical practice. Last update: Kubátová Gabriela, PhDr., Ph.D. (10.09.2024)
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Student: performs repertoire agreed with the teacher in advance analyse his/her performance offers possible solutions to instrumental-technical or interpretative problems Last update: Kubátová Gabriela, PhDr., Ph.D. (10.09.2024)
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