Interpretation Class II - OPBN2H108A
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Last update: PhDr. Gabriela Kubátová, Ph.D. (20.05.2019)
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Last update: PhDr. Gabriela Kubátová, Ph.D. (20.05.2019)
Course objectives can be summarized in three basic areas:
1) Verification of own interpretive skills, abilities and possibilities by performing in front of the audience.
2) Evaluation and analysis of performed performances. Here, the leading role of higher grade students is assumed.
3) Recognition of significant interpretational and pedagogical personalities of the past and present, penetration of the essence of musical message and technical means adequate to it
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Last update: 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.
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Last update: 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.
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